Edtpa Planning Commentary

K-12 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 of the content you will teach in the learning
segment.
[ The central focus of the learning segment is bowing techniques. Specifically, we will be
working on tied, slurred, and hooked bowing. The purpose of the content is to allow students to
play more than one note per bow motion (up or down bow), and to allow them to use multiple
bowings in the same direction after stops. The students will not be limited to playing one note
per bow after this learning segment. ]
b. Given the central focus, describe how the standards and learning objectives within your
learning segment address creating, performing, and/or responding to
music/dance/theater by applying
knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

elements, organizational principles)
contextual understandings (e.g., social, cultural, historical, global, personal reflection)

artistic expression (e.g., interpretation, creativity, exploration/improvisation, individual
choices)
[ The standards and learning objectives within my learning segment primarily focus on my
students ability to create, perform, and respond to music by applying knowledge and skills. I am
basing this unit around State Standard 25, Know the language of the arts, and State Standard
26, Through creating and performing, understand how works of art are produced. Specifically,
the students will be able to identify differences in bowing techniques that produce different
expressive qualities, which falls under 25.A.1c. Tied, slurred, and hooked bowings allow
musicians to create a variety of different sounds. As of right now, only knowing about detached
bowings is very limiting for the students in terms of identifying and performing expressive
sounds. Contextual understandings and artistic expression will be very intertwined in this
learning segment because in lesson two students will be able to justify why they are learning
how to play tied, slurred, and hooked bowings in the context of creating music on their string
instruments.
Students will also be better able to Describe the processes involved in performing
(26.A.3c). The students will be working on a performance assessment piece to demonstrate
their knowledge of tied, slurred, and hooked bowing. Students will Demonstrate the ability to
read written notation for an instrumental part (26.A.4d). There is a written component to this
unit that involves identifying and creating notation for tied, slurred, and hooked bowings. Once
the students have learned to identify each type of bowing, they will be performing a piece that
includes tied, slurred, and hooked bowings. Each day in class we will also be reading exercises
that focus on each type of bowing from their Essential Elements book. The students will also
place the bowings in a greater context of sound production on string instruments, which can be
related to the students cultures. Since various forms of sound production are used for artistic
expression, this will also be placed in the greater context. ]
c. Explain how your plans build on each other to help students to create, perform, and/or
respond to music/dance/theater and in making connections to knowledge/skills,
contextual understandings, and artistic expression.
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[ In the first lesson of this learning segment, the students and I will first review rhythmic
durations and then complete an exercise on adding rhythmic durations, as students will need to
add durations in order for them to hold tied notes for their full value. Students will also make use
of rhythmic knowledge and skills in describing left hand versus right hand movements for the
three types of bowings (qualitatively). This will also contextualize the idea of left hand versus
right hand rhythm because the students will make connections to rhythmic values and
mathematical ideas they have already learned. In lesson two, the students will start to
quantitatively describe left hand versus right hand rhythm. In lesson 1, we will start with tied
notes and bowings because they will open the students up to playing multiple notes in one bow.
Further, ties are not heavily demanding for the left hand and the students will thus be able to
better focus on their right hand motions. Next, students will learn about slurred notes and
bowings because they add a higher level of left hand difficulty. Afterwards, students will learn
about hooked notes and bowings because the next layer of difficulty is getting students to stop
their bows briefly between notes, despite continuing with the same bow direction. The students
will gain an understanding of what each of the bowings is (and how to identify them) and I will
prompt them to think about left hand versus right hand motions and changes (especially in
regards to speed of changes in both hands). In lesson two, the students will work individually on
the playing of the bowings that they learned in lesson 1. They will continue discussing the
similarities and differences, and create a venn diagram that will be a leaping point for discussion
about comparing and contrasting the bowings. This will also coincide with a discussion about
the bowings in larger context of sound production on string instruments. The students will
discuss why they are learning how to do tied, slurred, and hooked bowings. I will first start off by
asking the students a very general question: how can sounds be produced on string
instruments? The students with some prompting will come up with various answers such as
bowing, plucking, striking, and more. We will then discuss how one can change the way they do
those various techniques to artistically express various ideas and emotions. The goal of such a
conversation is that students will contextualize what they are learning to do in this learning
segment. Just as their cultures have instruments that are struck, plucked, and bowed in various
ways to express different ideas and emotions, so too can the string instruments they are
learning right now. In this way, the students are meant to come to the realization that these
bowings they are working on will give them the ability to artistically express themselves. This is
a beginning instrument class, so it may not be as readily apparent at first, but tied, slurred, and
hooked bowings allow musicians to have greater artistic expression in their interpretation,
exploration and improvisation, individual choices, and more.
In the third lesson, students will review the differences and similarities between the three
bowings, including the notational differences. We will do a call and response activity so that the
students muscles remember the motions used for ties, hooks, and slurs, just as we have in
previous lessons. Students will then have some time to prepare for their post-assessment as I
assist individually. ]
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).
a. 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.
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[ All of the students have been in this beginning string class since August. Therefore, they have
had about 11 weeks of instruction on their respective instruments. The students know correct
playing posture and instrument to body setup, and are able to demonstrate both. The students
have done playing assessments that involve all first position A, D, and G string notes, besides
accidentals outside of F# and C# (for both violin and bass). They are able to play all of those
notes, and they know how to read standard notation. They know their note names and finger
numbers to play notes in first position. The students have so far used separate, detache,
bowings and they have learned how to do bow lifts. We do quite a bit of air-bowing and open
string bowing to work on bow directions. We have also discussed bow directions, and bow
direction has been a component in their playing quizzes. These elements that the students
already know will be helpful because many of these practice techniques will be re-used when
the students are first learning the three bowings focused on in this learning segment. We have
worked in class on rhythms, as well. We regularly do clapping exercises, do individual whiteboard quizzes about rhythmic note names and values, and have discussed rhythmic relations.
These practice activities will be useful in practicing rhythmic aspects of tied, slurred, and hooked
bowings, as well as discussing rhythmic components of the bowings. All of the aforementioned
components have part of playing and written assessments. The students have also been
working on good string crossings. All of this previous knowledge is important for the students to
know before they start working on tied, slurred, and hooked bowings because they need to
know how to set up their body and instrument correctly in order to play, be able to read notes
and move the bow in correct directions, and be able to analyze and play various rhythms
beforehand. Musicians cannot play slurs, for example, without knowing how to play multiple
notes. Further, musicians cannot play ties without knowing rhythmic durations so that multiple
notes can be added together and played as one unit. Finally, knowing bow directions will be
crucial for describing how the bow moves when playing tied, slurred, and hooked bowings.
Student 1 and 5 already play wind instruments, and student 2 has played piano.
Therefore, these students have already learned about ties and slurs. However, their possible
discussion of ties will have only included blowing through an instrument longer or holding a note
on the piano longer. Further, their possible knowledge of slurs will most likely have only included
blowing through multiple notes without breathing breaks, or playing notes on the piano in a more
legato way. The bow aspect will most likely be completely new for them. Additionally, they will
probably not have talked about hooks, as it is a very unique string instrument idea. This prior
use of terminology and other language components will be helpful for these students, though.
Student 2 will probably have some physical coordination issues because that student has had
prior issues with bow direction, left hand and right hand combination, and string crossings. It is
the students main focus for the semester because he has had issues with these items on
previous informal and formal assessments.
Student 3 and 4 have had very few issues with the physical aspects of playing the violin.
However, the language aspects of this learning segment might be challenging for the students,
as the terminology and discussion will be very new for them since they have not played
instruments before.]
b. Personal, cultural, and community assets related to the central focusWhat do you
know about your students everyday experiences, cultural and language
backgrounds and practices, and interests?
[A beginning strings class at the high school level is only possible if the community and
administration at the school supports the students wanting to engage in the music program.
Other students in the orchestra program at the high school are very supportive of beginning
students. I have seen many students who have been playing their instruments for a longer
amount of time go out of their way to give some extra tutoring to one of their peers in the
beginning class. The students in the class know that they can ask their friends in other orchestra
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classes for extra help. Finally, the students in this class chose to be in the class and are excited
to learn.
It is hard to define each of my students cultures with an identifier. One might say that
many of my students come from families of cultures that can be distinctly defined and
differentiated between. For example, student 3 moved with their family to the community I am
teaching in from southeast Asia. A person might assume that student 3, then, comes from that
culture. However, that does not paint a full picture. Since the student has been in this
community for multiple years, the students culture has been affected by the communitys many
cultures. Because it is very hard to distinctly identify my students cultures because of the many
factors that influence culture, and the many cultures from which my students come from or are
a sub-culture of- it is better to more generally identify cultural assets. All cultures have music.
Thus, all cultures have musical instruments and various ways of making sound on various
items. Therefore, I know that when I ask the students why they are learning about tied, slurred,
and hooked bowings, and ask them to contextualize those bowings within other ways of making
sound on their instruments, they will be able to make connections to other ways of making
sound and music from other instruments. For example, all cultures have items that are hit or
struck in order to make music. Thus, students will be able to connect to that. Further, all of the
possible cultures, combinations of cultures, or sub-cultures from which my students come from
have objects that are plucked in order to produce sound. My students will be able to make
connections to this in order to contextualize the main focus of this learning segment. Another
cultural asset that the students have is that while for certain students English is a second
language, all of the students in the class speak it fluently. The students all come from a cultural
background that holds that music in high regards. All of them have seen professional string
musicians, and every single one of the students has a person in their family that plays an
instrument.
Student 1 plays other instruments already and participates in choir. Therefore, the
student has three music classes each day. The student also participates in extracurricular music
ensembles. Obviously, Student 1 spends much of the day doing music activities. Student 1
already knows how to read both bass and treble clef, has a strong rhythmic foundation, and
knows other musical aspects outside of playing the instrument being studied in Beginning
Orchestra. Student 1 is unique from the rest of the other students in Orchestra because Student
1 plays bass, while everyone else plays violin. Student 2 plays piano, so this student already
knows much of the terminology discussed in class and already knows how to read notes well.
Student 2 knows rhythmic names and values, but does not have a very steady pulse.
Additionally, Student 2 has had quite a few bowing issues. Student 2 does not have an IEP or
504 plan, but the students physical coordination has not matured to the point where other
students are at in the class. Student two has had issues with doing left and right hand tasks at
the same time and has had trouble with string crossings. The physical coordination issue is
mostly a fine motor skill. Student 3 is very quiet and probably the most attentive in class. The
student is always very focused on me, other students, or the task at hand. Although Student 4
does not remember note names and rhythms very well, the student has prior choir experience.
Both of these students have fine motor skills that are well developed, possibly due to the fact
that they are both interested and participated in art and drawing. Student 5 plays in band
(multiple instruments), sings in choir, and takes music theory.]
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 Planning
Task 1. In addition, use principles from research and/or theory to support your
justifications.

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a. Justify how your understanding of your students prior academic learning and personal,
cultural, and 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, their assets, and
research/theory.
[One of the reasons the students will first learn how to play tied notes in lesson one is because
the wind players and piano players will probably already have some idea of how to play tied
notes. The same goes for slurred notes. Tied notes are easier to teach first, though, because
the they are not as demanding on the students left hand. Slurs add this additional demand, and
hooks add another demand by having the students stop the bow temporarily between notes. If I
had a class full of musicians who knew what ties and slurs are and had done them on other
instruments, I could have eliminated vocabulary and other steps. However, there are students in
the class who have never played any instruments, so I have to take the whole class through
each of these new concepts step by step. It is good review for students who play other
instruments and may have forgotten certain aspects of tied and slurred bowings, anyways. For
students that have played other instruments, I can make analogies to those instruments,
though. For example, I can talk with wind players about blowing through notes without any gaps,
which is similar to moving the bow in the same direction for ties and slurs, without any gaps.
With pianists, I can liken the ideas of left hand versus right hand rhythm to playing long notes in
the right hand and playing shorter notes in the left hand.
Although all of my students are fluent in English, student three is freshly out of ELL who will
need a lot of support with language tasks. Additionally, student 2 has some physical
coordination issues. I have some built-in independent work time, during which I can assist
students 2 and 3 individually. With student 3, I can check understanding of language demands,
and with student 2 I can assist with feeling bow motions (especially over string crossings) with
supports such as an activity in which I move the students bow (with the students hand still on it)
and the student moves their fingers. The student then has some additional help with feeling the
correct motions, even if the student cant create them completely alone. Much of the peer-work
is geared towards student 3 (although peer work is good for all of the students) because other
peers can help the student through activities: particularly those involving language. Numerous
educational psychologists have theorized that peer-work is highly effective in such situations:
possibly even more effective than teacher mentoring.
It should be fairly clear that I am a huge user of scaffolding. Lev Vygotsky theorized that
students learn the most when they are in a zone of proximal development. In other words,
students learn best when they in a zone between predevelopment an area of competence in
which students cannot solve problems, even with assistance from a teacher and actual
development an area of competence in which students can solve problems, independent of
teacher assistance. This middle area is where teachers provide assistance in solving problems.
One way a teacher can provide support is by scaffolding. Scaffolding is combination of supports
and guidance given by the teacher to students that provides the developmental skills necessary
for students to learn on their own. In my lessons for this learning segment I will be providing
multiple supports that are meant to scaffold student learning. For example, rather than jumping
in and asking students to figure out left hand versus right hand rhythms for various tied, slurred,
and hooked examples, I will start by reviewing rhythmic durations, have the students add
durations of rhythmic examples, and then the students will learn the motions and changes in left
hand right and hand motions for the three types of bowings. The students will describe the
changes first with adjectives based on guided questions. After all of these original supports, the
students will describe the left hand versus right hand rhythm.]

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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 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).
[ Student 3 is not in ELL, but is not as proficient in English as the students peers. That is why I
have done quite a bit of scaffolding for the language function of this learning segment. I
described scaffolding in 3a as being a technique used to help students accomplish tasks that
are slightly beyond their abilities so that students learn how accomplish them before trying to do
so by themselves. For the language component, I have devised many activities that help
students work their way towards comparing and contrasting the vocabulary focuses. For
example, the students will describe the vocabulary, discuss the differences between the
vocabulary words, and create a venn diagram based on the components involved in the words.
All of these activities have group-work components. Research has shown that peers can help
each other significantly because peers can help each other scaffold. A more able peer can help
Student 3 because the peer has just learned how to accomplish the language function asked of
them in an activity, and the peer will be sensitive to the difficulties that may arise in
accomplishing the function because they had to work their way through the difficulties recently.
Similarly, during individual work times, I can help Student 3. Students 1 and 5 may experience
times when they need more challenging. Because of this, I included additional practice pieces in
their bowing packets. If they find the test piece easier than the other students and can play it
well, they can continue to work on the focus of the learning segment by working on more
materials. ]
c. Describe common student errors, weaknesses, or misunderstandings within your
content focus and how you will address them.
[ Hooked bowings often confuse students because they can be used for multiple notes that are
the same, or notes that are different. Many examples in method books use only examples
containing the same notes in the introduction to them. The students will play examples that use
the same notes, different notes, or a combination of the two. It will be one of the things that I
specifically address for the venn diagram. Students also often have difficulty with string
crossings for slurred and hooked bowings. I will address these issues by having students
practice hooked and slurred bowings on open strings before having the students play them in
songs. I will also help students individually by guiding their bow through the string crossing while
their hand is on the bow. ]
4. Supporting Performing Arts Development Through Language
As you respond to prompts 4ad, consider the range of students language assets and needs
what do students already know, what are they struggling with, and/or what is new to them?
a. Language Function. Using information about your students language assets and
needs, 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.
Analyze
Compare/contrast
Create
Describe
Evaluate
Explain
Identify
Improvise
Perform
Respond

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Summarize
[ Comparing and contrasting is a key language function that my students will be engaging in.
Since the students are learning multiple ways to play more than one note in one bow stroke,
students will need to have a solid understanding of how these bowings are related in that aspect
and a few others, yet distinct at the same time. ]
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 two, students will review the terminology of this learning segment, and review how to
identify the three bowings being focused on. It is critical for students to understand the basic
similarity among the three bowings (that they all include multiple notes in one bow direction), as
well as other similariites. The students will also discuss the differences among the three
bowings so that they can properly demonstrate the three bowings individually. Students will also
discuss (with prompting as needed) the differently paced changes between notes and bowings,
or left hand and right hand. This will all culminate in a venn diagram, which will give students the
opportunity to compare and contrast the three bowings, with a verbal and visual component. ]
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
[ Students will need to understand three main vocabulary words: tied, slurred, and hooked.
These are the three types of bowings being focused on in this segment, so this makes sense.
Tied notes are played in one bow, and the notes tied together have to be the same note. The
symbol for a tie is a curved line above the tied notes (that are the same). If the notes grouped
together by a symbol that looks like a curved line are different notes, then this is called a slur.
During a slur, the player plays all of the notes in one bow as the left hand changes to play the
different notes. Hooked notes are all played on one note, and this type of bowing can include
different notes or the name notes. The only different between a hook and a slur or a tie is that
the player stops the bow between each notes as the bow continues in the same direction the
whole time. It too is symbolized in written notation by a curved line, but there are dots above
each note that symbolize the separations.
As far as discourse goes, students will need to use appropriate sentence structures during
their compare/contrast conversations. An example of a sentence with appropriate structure for
comparing and contrasting is: hooked bowings and slurred bowings both move in one direction,
but hooked bowings are different because there are slight stops in the motion between each
note. Some important words to be used in this structure are like, similarly, however, and
more. Generally, students can liken vocabulary terms to each other (with words such as like,
or similarly) and then describe how they are different in a separate clause by using but,
however, or other such words. Generally, students will be asked to arrange their phrases in an

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order in which vocabulary terms are likened in the first phrase, and differentiated between in a
following phrase, which is a syntax demand.
Another syntax demand for the students is an understanding of written musical notation. The
staff organizes the notes and rhythms together in a way that makes sense. Students already
know a lot about this notational organization. The students will be discovering that this
organizational system also can include various symbols within it that symbolize various
bowings. The bowing symbolizations are always notated directly above the notes that are meant
to be impacted by the symbols within the staff. Another demand along with this is student
understanding of how right hand versus left hand rhythms are separated within the staff. Right
hand rhythm can be though of as moving left to right on the staff, grouped together in ties, slurs,
and hooks. Left hand rhythm has to do with vertical changes (in pitch) on the staff) during ties,
slurs, and hooks. ]
d. Language Supports. Refer to your lesson plans and instructional materials as needed
in your response to the prompt below.
Identify and describe the instructional supports (during and/or prior to the learning
task) to help students understand, develop, and use the identified language
demands (vocabulary/symbols, function, syntax, discourse).
[In lesson 1, the students will learn what each of the bowing vocabulary words mean and they
will discuss the differences between the words and associated motions. Because music has so
much to do with movement and sound, the students will also start to associate the symbols and
vocabulary words with sounds and motions. In this way, language is supported in audio, visual,
and kinesthetic ways, as the students do the motions, see the motions from me, hear the
resulting sounds, see symbols representing the function, and discuss it as well. In lesson two,
the students will review the vocabulary words and symbols. They will start compare and contrast
them in a visual, written way a venn diagram. The venn diagram will give the students a
chance to visually see how the vocabulary words have similar and different components, as
they are physically separated. This will also be an opportunity for comparing and contrasting. I
can demonstrate some sentences that make use of similarities and differences in format like
While hooked bowings and slurred bowings can both make use of playing multiple notes in one
bow stroke, hooked bowings are different from slurred bowings because they have slight
pauses in the bow stroke between each note. Afterwards, the students can create similar
sentences for each other to practice their discourse. The students will have also had some
practice in lessons 1 and two with creating example figures of tied, slurred, and hooked
bowings, rather than simply identifying them. Creating showings a deeper knowledge of notation
and syntax than simply identifying.
In lesson 1 versus lesson 2, when talking about left hand versus right hand changes
(rhythm), the students started in lesson 1 by talking about such concepts generally with
adjectives. Without realizing it, the students were also set up to talk about this portion
rhythmically, as they reviewed rhythmic values and practice adding values together. In lesson 2,
students will review this and then start to describe the changes with numbers: quantitatively
versus qualitatively. I will then introduce the idea of left hand versus right hand rhythm. Because
the students will have already discussed it without necessarily realizing it, it will make more
sense.
All of this support includes copious amounts of scaffolding, which was discussed earlier
in this commentary. A huge part of these supports is also presenting all of the language
demands (such as vocabulary, discourse, symbols, and syntax) in various ways. Research has
shown that students learn in various ways. Some students might be primarily visual learners
others might be auditory or kinesthetic learners. By supporting and working on these language
demands in various ways, all of the students learn about them in the way they learn best, they
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learn about the demands more than once without necessarily realizing it, and they get practice
with each of the demands in various contexts. Additionally, each of my lessons have group
work components because research has shown that peers can help each other through learning
tasks with scaffolding. ]
5. Monitoring Student Learning
In response to the prompts below, refer to the assessments you will submit as part of the
materials for Planning Task 1.
a. Describe how your planned formal and informal assessments will provide direct
evidence of students creating, performing, and/or responding to music/dance/theater by
applying knowledge/skills, contextual understandings, and artistic expression
throughout the learning segment.
[ It should be fairly obvious that my planned assessments will provide direct evidence of
students performing, as the students will have playing components on their formal assessments.
Music teachers are always informally assessing students while they are playing. Students will
also have chances to respond to music when I ask them to identify and respond to various
notations that I write on the board. We will often do this with white-boards that students can
individually use. Students will also be expected to do so on exit slips each day. The students will
be formally assessed on this in the post-assessment. Students will also be assessed on some
creation of music, in which they will notate various bowings. This will be done on an exit slip on
day 1 and on white boards in later lessons. Students will need to apply knowledge and skills for
both of these assessments. Students will also need to apply contextual understandings as they
respond to questions and prompts regarding various means of sound production on string
instruments (which will also build greater artistic expression knowledge and skills) and create a
venn diagram that shows how complex string instruments are in just one area of sound
production. This will culminate in a compare-contrast prompt on the students post-assessment
in which students will be expected to weigh the similarities and differences between the types of
bowings focused on in this learning segment, which are in one small portion of the
contextualized theme of sound production. ]
b. Explain how the design or adaptation of your planned assessments allows students with
specific needs to demonstrate their learning.
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).
[ The two students focused on in this portion will be students 1 and 3. Student 2 has physical
coordination issues. Therefore, while there is a playing portion for the assessments, the
students will be able to demonstrate knowledge of the concepts, symbols, vocabulary, and other
knowledge aspects for the learning segment. For example, there are identification components
(both visual and audio), notational components, differentiation components, a written
compare/contrast component, and quantitative components (left hand versus right hand
rhythm). Therefore, student 2 will be able to demonstrate that they know a lot about the learning
segment, and the student is simply still working on the playing component. Meanwhile, student
3 has been very good with playing components for this class. The student will be able to
demonstrate physical knowledge and ability, even if that student is not as able to demonstrate
language driven knowledge of the learning segment because the student speaks English as a
second language. ]

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K-12 Performing Arts

Task 1: Planning Commentary

TASK 1: PLANNING COMMENTARY

knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

contextual understandings (e.g., social, cultural, historical, global, personal reflection)

K-12 Performing Arts

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

Vocabulary and/or symbols

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

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