Task 3c Assessment Commentary Sangiovanni Edtpa

K-12 Performing Arts
Task 3: Assessment Commentary
TASK 3: ASSESSMENT COMMENTARY

Respond to the prompts below (no more than 10 single-spaced pages, including prompts) by typing your responses within
the brackets following each prompt. Do not delete or alter the prompts. Commentary pages exceeding the maximum will not be
scored. Attach the assessment you used to evaluate student performance (no more than 5 additional pages) to the end of this
file. If you submit a student work sample or feedback as a video or audio clip and you or your focus students cannot be clearly
heard, attach a transcription of the inaudible comments (no more than 2 additional pages) to the end of this file. These pages
do not count toward your page total.
1. Analyzing Student Learning

a. Identify the specific learning objectives measured by the assessment you chose for analysis.
[The learning objectives that were measured in this assessment are the methods of analyzing, “B”
“A” and “G,” including an individual recorder playing test, singing test, and written assessment. Part
1 of the assessment was the written portion, and part 2 was the singing/playing portion. Both parts
measured how students applied their knowledge of “B” “A” and “G” by using kinesthetic aids
practiced throughout the learning segment.]
b. Provide a graphic (table or chart) or narrative that summarizes student learning for your
whole class. Be sure to summarize student learning for all evaluation criteria submitted in
Assessment Task 3, Part D.
Figure 1
Figure 2
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Figure 3
[These three charts represent the pretest and post-tests of the individual, “Notes BAG”
assessment. Figure 1 represents the scores of the written pre-assessment. Figure 2 shows the
scores of the written post-assessment. The written post-test was 100% identical to the written
pre-test. Figure 3 demonstrates the post-test scores of the singing/playing test. The
singing/playing test, represented in Figure 3, does not have a pre-test component, as the
students were unable to access recorders and materials prior to the unit, and did not have the
sufficient technique of singing and playing before the lesson sequence. The numbers on the X-
axis outside of the chart represent all possible scores, while the numbers on the Y-Axis
represent the number of students. The number above each bar represents how many students
received that score.
The purpose of dividing the assessment into 2 parts—the written part (part 1) and the
singing/playing part (part 2) was to give students more opportunities for success, and to
demonstrate their understanding of “BAG” with both performance and comprehension. Some
students perform better under a time limit, while others grow anxious with the concept of a
written timed test. I wanted to provide my students many opportunities to show that they
understood the material by having them apply the knowledge to their performance technique as
well as their retention. I opted to separate the written and singing/playing test scores primarily
because these parts were done on different days due to schedule and time constraints, and
some students were absent for the singing/playing portion. I did not want their absence to
negatively impact their final score, so I excused them from the singing/playing test and gave
them their written test score instead.
Part 1 was a 15 minute written exam, where students were prompted with questions regarding
methods practiced in class (i.e. recorder, pitch ladder, solfege, hand staff). The written exam
was out of 50 points, with 5 points of extra credit. The maximum score for this assessment is 55,
and a minimum score is 0. Once students were finished with the written exam, they were pulled
from class to take an individual singing/playing test, which focused on the songs practiced in
class. This was part 2 of the assessment. They had to sing the excerpt on words, letter names,
and then finally play the song on recorder. The maximum score for this part is 20, with a
minimum score of 4. Combining the scores from parts 1 and 2, the maximum possible score is a
75, and a minimum possible score is 4.
Figure 1 demonstrates the pre-assessment, given right before the start of the unit. The highest
score was 37 out of 50, with the lowest score a 3/50. The mode of the pretest was a score of
7/50, with 4 students. Of the 22 students who took the pre-test, 18 of them scored between 3/50
and 21/50, representing roughly 82% of the total students who had a pretest score of 42% or
below.
Figure 2 represents the post-test given at the end of the unit. Out of the 23 students who took
the written portion, 16 of the students had a score of 40 or higher, equating to about 69.5% of
the total class getting ≥80% score. Six students went above the 50 point margin, with one
student achieving a perfect score of 55. There were 4 students who scored in the 30 point
range, one student who scored 24, one student who scored 15, and one student who scored a
2. The students who scored a 15 and a 2 were students that came from lifeskills and left class
during teaching segments. They were given a modified singing/playing test, where I measured
their perception of high and low, singing with me on pitch, and their use of gross motor
movement (i.e. pitch ladder) with high and low pitches. Both of these students scored a 15 on
the singing/playing test modification.
Figure 3 shows the singing/playing test scores. The singing/playing test was given at the end of
the unit and is Part 2 of the post-assessment. There were 21 students who took the
singing/playing portion of the exam. Of the 21 students, 16 of them received a score of 18 or
higher, equating to about 77% of the whole class. 12 of them scored a perfect 20, which means
about 57% of the students were able to correctly sing, play, and identify all the notes in the
passage. Three students scored a 19, one scored 18, one scored 17, one 16, two fifteens, and
one fourteen. The two scores of fifteen were the students from lifeskills, who were given a
modified assessment. The student who scored a 14 was able to sing and recognize half the
notes in the passage. When it came time to play, this student struggled with switching between
the notes. I remedied this by asking them to play the note without the excerpt, and show the
correct fingers for “B,” “A,” and “G,” which they were able to do. Two of the students from the
class were absent due to illness for more than two weeks, and were excused from this part of
the test.]
c. Use evidence found in the 3 student work samples and the whole class summary to
analyze the patterns of learning for the whole class and differences for groups or
individual learners relative to applying the following within music/dance/theater:
 knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,
elements, organizational principles)
 contextual understandings (e.g., social, cultural, historical, personal reflection)
 artistic expression (e.g., interpretation, creativity, exploration/improvisation, individual
choices)
Consider what students understand and do well, and where they continue to struggle
(e.g., common errors, weaknesses, confusions, need for greater challenge).
[Using the whole class and focus data, areas of growth in their knowledge include recognition of
the notes “B,” “A,” and “G” on a conventional staff and on recorder. At the beginning of the
learning segment, students took a written pretest to measure their current knowledge. Only
seven of the 23 students were able to identify notes on the staff, and there were only 5 students
that could correctly identify the notes, “B,” “A,” and “G” on a recorder, with the rest of the class
either guessing or leaving these areas of the pretest blank. The student’s knowledge of solfege
was high before the learning segment, with 19 students able to correctly identify the solfege
hand-signs. However, prior to the learning segment, students were unable to apply and transfer
their knowledge of solfege to the notes, “B,” “A,” and “G” on the staff. In the post test, students
not only improved their solfege scores, they recognized more notes on the staff and applied
their knowledge of the kinesthetic aids taught in class. Students demonstrated their contextual
learning by choosing one of the kinesthetic aids and answering the question, “How does this
method help you?” By reflecting on their own learning styles, they were able to choose which
aids helped them learn the notes, and why. They explained their own reasons for choosing an
aid, or coming up with one on their own, to help them with recognizing, “B,” “A,” and “G.” For
artistic expression, students had the option to use any of the aids in the singing/playing test to
help them with the notes, “B” “A” and “G.” One of the students in my focus group created his
own method, wrote his rationale of this self-created aid for part one, and used his own method
during the singing/playing test to demonstrate the notes.
A common error throughout the whole class was the application of solfege to the notes, “B” “A”
and “G,” where students would either switch “do and “mi,” or put the letter names of the notes
instead of the solfege syllables. For example, three of the students put the letter “G” instead of
the syllable, “do” on page 4 of the written portion of the assessment. Four completely different
students switched “do” and “mi” on the same page, including Focus Student 1. During part 2,
there were no students who chose to use solfege as a help. This tells me that there was not
enough practice with solfege, or there was a gap in learning when covering solfege in the unit.
Student 1 scored a 12/50 in Figure 1, a 49/50 in Figure 2, and a 20/20 in Figure 3, marking her
as one of the high scores of the class in the post-assessment. She identified all notes on the
staff, transferred knowledge of the written staff to the hand staff, and explained how pitch ladder
helped her learn. When taking part two of the test, Student 1 was able to correctly sing all the
notes, analyzed “B” “A” and “G,” and played the excerpt on recorder. She demonstrated
individual choice by explaining her reasons for choosing the pitch ladder to answer the question,
“How does this method help you?” An area of weakness for this student is solfege,
demonstrated in Part 1, where she swaps the “do” and “mi.” This student also had challenges
with the recorder, where her air pressure was too high when blowing and leading to an octave
jump on the last note (See Task 3B Evidence of Feedback Video, Student 1—2:13).
Student 2 is the student with ADHD, who scored an 11/50 in Figure 1, a 41/50 in Figure 2, and a
16/20 in Figure 3. This was one of the middle scores for the whole class on both part one and
two. What is unique about Student 2 is that he created his own kinesthetic aid to help him learn
the notes, “B,” “A,” and “G.” Student 2 both explained this method on the written test and
demonstrated it to me during the singing/playing portion of the test (see Task 3B Evidence of
Feedback Video, Student 2—0:33). His areas of strength are solfege and recognizing the notes
“B” “A” and “G” on the staff, demonstrated in the written portion of the test. However, student 2
struggled with the hand staff. He had the correct spacing of the notes, but marked on the wrong
fingers. In part 2, this student also switched back to words from the letters during the singing
portion, but showed the correct visual aids for the letters as he sang on the words. Student 2
had a hard time with recorder technique, as his fingers wouldn’t cover the holes completely.
However, he showed the correct finger positions on the recorder for “B,” “A,” and “G.”
Student 3 scored a 9/50 in Figure 1, a 36/50 in Figure 2, and 16/20 in Figure 3. This was one of
the lower scores on the test. He was able to recognize all the notes on the staff in the first page,
explain the reason for the help he chose, recognized three of the four finger staff questions, and
scored 100% in both the solfege and recorder section. In terms of the kinesthetic aids focused
on during class, he was proficient in all but one. This student struggled with applying the notes
to the note comprehension on the last page, demonstrated in Task 3A—Student 3 Work
Sample. What is interesting is that this same student was able to get all the correct notes on the
first page of the written portion, but struggled with the last page, which had the same notes as
the first page. Student 3 also had trouble with singing high and low, using the same pitch
throughout part 2 of the assessment.]
d. If a video or audio work sample occurs in a group context (e.g., discussion), provide the
name of the clip and clearly describe how the scorer can identify the focus student(s)
(e.g., position, physical description) whose work is portrayed.
[N/A]
2. Feedback to Guide Further Learning
Refer to specific evidence of submitted feedback to support your explanations.
a. Identify the format in which you submitted your evidence of feedback for the
3 focus students. (Delete choices that do not apply.)
 Written directly on work samples or in separate documents that were provided to the
focus students
 In video clips from Instruction Task 2 (provide a time-stamp reference) or in separate
video clips
If a video or audio clip of feedback occurs in a group context (e.g., discussion), clearly
describe how the scorer can identify the focus student (e.g., position, physical
description) who is being given feedback.
[Regarding the format of student feedback, in Part 1 I wrote comments inside the test and at the
end of the test (see Task 3A—Student Work Samples). These comments specifically assess
what a student did well, and what a student needs to work on. During part 2, I gave feedback
throughout the videos, and again at the end (See Task 3B—Evidence of Feedback). I provided
specific feedback regarding student performance on both singing and playing. Instead of just
saying, “nice work,” I would follow up the comment with an aspect of their singing and playing,
such as, “Nice work with showing me the correct finger position on recorder.” I also wrote
comments on the rubrics for the singing/playing test that points out what students did well, and
what they should work on. The written tests were passed back to all students, so they can
glance through them and see my comments. I attached their pretest and singing/playing rubrics,
so that the students could see their level of growth from the start of the unit to the end. I used
positive reinforcement to reward students with an uplifting visual at the back of their test to boost
student morale.
For student 1, I wrote at the top of her written test, “Awesome Job,” and then redirected her to
the back of the test for my comments. On the back, I was specific about what her strengths
were by stating, “you have made OUTSTANDING improvement with correctly naming, “B, A, G”
on the staff.” Inside the test, on page 2, I wrote, “Good reason!” when she explained how pitch
ladder helped her learn the notes. I was also specific about her areas of weakness by writing,
“Be careful with your recorder fingering page—you didn’t mark in all the holes” This was a
specific comment related to page 5 of the written portion of the assessment, where student 1
forgot to fill in all the holes for the note given. Inside the test, I was more specific about her
switching “do” and “mi” by reminding the student that the note “B” is higher than “G,” therefore
the solfege must be higher for “B.” For part 2, I told her that she, “Recognized all the notes. Well
done.” When she sang. (Task 3B Evidence of Feedback Video—Student 1 (1:20). When
playing, I assessed her left hand check on the recorder, and had her correct her “G’ at the end
of the song (2:15)
Student 2 got a personal comment from me that said, “Wonderful work!” and directed them to
the back of the written test for comments. I used specific feedback regarding the student’s
strengths by writing, “You did a great job with your note-reading!” and by commenting that I liked
how he created his own method to help him learn the notes, “B” “A” and “G,” and that I could tell
it helped him read the notes. Within the test itself, I wrote on page 3 that the spacing of the
notes on the finger staff was correct, but that he was two spaces too high. This gives an exact
reference to the correct position, and how far off he was from the answer. To help boost morale,
I wrote, “So close! You were a few fingers off!” To give him the sense that he was on the right
track, but only missed the correct position. In part 2, I had the student use his own aids to guide
him through the singing. He was able to correct the notes in the second part of “Hot Cross
Buns” by showing me the correct hand gesture (Evidence of Feedback Video—Student 2 at
0:55) I also remarked that the student needs to “cover the holes completely” and “cover the
holes nice and tight” as he was playing the recorder, providing direct, specific feedback to his
playing (2:03). The student was able to show correct finger position for the recorder as he
played, remarked at 2:11. We worked together to find the notes (2:25). At the end of the test, we
worked out how to find the notes using one of the kinesthetic aids, “hand staff” (2:30).
Student 3 received a positive message of “Great Work!” and directed to comments at the back
of the written test. From there, I was specific about what his strengths were by writing, “You
improved your note-reading score from the pre-test. Well done on recorder, solfege, and hand-
staff.” I gave him feedback regarding his weaknesses by telling him to keep practicing the notes
on the staff, and to use the kinesthetic aids to help him recall the notes. In part 2, I wrote in his
rubric that he got the “B” “A” and “G,” which was a major improvement from his written test. I
also reinforced his correct recorder fingerings. I give him comments regarding what he needs to
improve by stating, “When you sing, make sure the “B” sounds higher than the “A” and “G.” I
gave student 3 a second attempt to sing the excerpt, which improved some of his notes. (Task
3B Evidence of Feedback—Student 3 at 0:15) After getting a second attempt at the notes with a
help, student 3 was successful at naming all the pitches (1:15). I provided specific feedback to
him by first stating his strengths, and then his weaknesses. I gave my feedback by stating, “you
did a very good job with your recorder fingerings, you showed all correct recorder fingerings,
and you were able to identify all the notes” (2:32), followed by the areas for improvement by
saying, “be careful when playing recorder, because sometimes you don’t cover the holes
completely, which will cause this sound” followed by an incorrect model, and then a correct
model, with how the note should sound (2:42) and giving him one more attempt to produce the
correct sound from the recorder (2:55)]
b. Explain how feedback provided to the 3 focus students addresses their individual
strengths and needs relative to the learning objectives measured.
[The comments written and spoken for the three focus students directly addressed their areas of
strength and weakness in both a formative and summative way. I wrote an overall comment in
the first part of the test that directly stated what they did well, and what they need to work on.
This is complimentary to the notes throughout the test, which directly addressed the strengths
and weaknesses as they appeared in the assessment. Part 2 uses a similar format, where I use
formative methods to help guide the students along the test, as well as a summative comment
that explained a student’s areas of strength and weakness. By providing specific feedback in
both the written and singing/playing portion, the students were told exactly what they did well,
what needs improvement, and what they can do in the future.]
c. Describe how you will support each focus student to understand and use this feedback
to further their learning related to learning objectives, either within the learning segment
or at a later time.
[By providing this feedback, I am giving the students their areas of strength and weakness,
which will give them an idea of what areas of knowledge need more work. I will explain these
comments to them and walk them through the test, clarifying any notes that I made so that they
can make sense of their correct and incorrect responses.
For student 1, I will explain that they did a wonderful job on reading the notes on the staff,
saying which helps she used and why, and demonstrating the correct fingers that represent the
hand staff. These comments will align with the written feedback I gave, detailing her strengths of
note-reading and transfer of the hand staff. For the areas of improvement, I will review the
solfege with the student and ask leading questions such as, “What does ‘do’ represent in BAG?”
By continuing to practice solfege, student 1 will be able to transfer the written notes to another
kinesthetic aid that will help her with singing in the future.
Student 2 will be a bit more challenging, mainly because there are triggers that need to be
avoided in order to prevent a meltdown. I was very gentle with the feedback I gave during part
2, making sure to continue to reinforce correct responses and work out the weaknesses
together. I also wrote out my comments on his rubric, instead of continuing to help correct his
singing, so that he did not become overwhelmed or discouraged during the test. For this
student, I can’t stay on the same topic for too long, because they will space off and direct their
attention elsewhere, or if I continue to work one problem without improvement, he will grow
frustrated. I will give his feedback in small chunks on an individual level, so that he is not
overwhelmed by peer responses and feedback. I will continue to reinforce this student’s
creativity on kinesthetic aids by comparing his pretest and post-test grade and relating his note-
reading capability back to the aid he used to improve his score.
Student 3 will be rewarded positive feedback for using the aids used in class. I will start by
saying he did a nice job in the hand staff, recorder, solfege, and writing response sections in
part 1, and compare his pretest score to the post test so he can see his level of growth.
Comparing the pre-test and the post-test, student 3 will be able to see what sections he
improved upon, and which sections still need work. I will explain to student 3 that they were able
to identify all the notes on page 1, but we should improve his score on page 6. I use the term,
“we” to sound more inclusive to the student, putting the responsibility of fixing the last page on
the both of us, and not just him. We will have a discussion following student 3’s thought process
on the last page, and work together using the aids to come up with correct responses. After we
have finished working, I will informally assess the student using notes on the staff to measure
his learning.]
3. Evidence of Language Understanding and Use
When responding to the prompt below, use concrete examples from the clip(s) and/or
student work samples as evidence. Evidence from the clip(s) may focus on one or more
students.
You may provide evidence of students’ language use from ONE, TWO, OR ALL THREE
of the following sources:
1. Use video clips from Instruction Task 2 and provide time-stamp references for
evidence of language use.
2. Submit an additional video file named “Language Use” of no more than 5
minutes in length and cite language use (this can be footage of one or more
students’ language use). Submit the clip in Assessment Task 3, Part B.
3. Use the student work samples analyzed in Assessment Task 3 and cite
language use.
a. Explain and provide concrete examples for the extent to which your students were able
to use the
 selected language function,
 vocabulary/symbols, AND
 syntax or discourse
to develop content understandings.
[Students demonstrated their use of language by writing out the vocabulary in the written
response section in part 1. On page 2, students were tasked to name two methods that were
practiced in class, one method that they used and helped them, and then explain how the
method was helpful. These methods were aligned with the vocabulary throughout the unit,
including solfege, pitch ladder, hand staff, singing, recorder, and playing.
Part 1 reinforces vocabulary, symbols, and syntax by having students fill in correct responses
around BAG in a number of ways. Students had to fill in the blanks for the note shown, circle the
correct finger on the hand staff, fill in the correct holes on recorder, recite the solfege syllables,
list the vocabulary we used in class, and analyze a song on the back of the test by filling in the
blanks underneath the notes. Almost every student on the test correctly identified the excerpt on
the last page as, “Hot Cross Buns,” which told me that they looked at the note combinations and
worked out in their head what the song was just from the notes alone. Page two of the written
portion also required students to explain their thinking on page 2, where students were asked,
“How does this method help you?” By using their own words to explain why a method helped
them, they demonstrated discourse.
In Part 2 of the assessment, students had to analyze the passage, sing on the words, sing on
letters, and then play on recorder. As they analyzed the passage, they were looking at the notes
on the page and preparing to recite the letter (pitch) that corresponded to each note. In the
process of part 2, students were actively performing the language function by studying the score
and preparing to perform it three times.
Student 1 was able to explain how the pitch ladder helped her by writing, “The pitch ladder is
easiest for me because you just have to move your hands.” (written assessment, pg. 2) This
demonstrated both the use of vocabulary and her own explanation of how to perform the pitch
ladder. Student 2 wrote “hands—one I made up” and explained that “I made it so it just sticks
with me,” followed by a drawing of the hand gestures to show me which pitches corresponded to
which gesture. Student 3 said the pitch ladder was “easier to use.” All three focus students were
able to write two methods that help them with BAG, which demonstrated their use of vocabulary.
All three students also used syntax by writing their responses on part 1 of the test (see student
assessments).]
4. Using Assessment to Inform Instruction
a. Based on your analysis of student learning presented in prompts 1b–c, describe next
steps for instruction to impact student learning:
 For the whole class
 For the 3 focus students and other individuals/groups with specific 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).
[The next steps for the whole class would be to continue the recorder unit, adding new notes to
the existing ones, and building off their prior knowledge to expand their skills to new notes. This
would mean reviewing the notes on the staff, and having students practice singing the new
notes as well as the old ones. The next notes in the recorder sequence are “C,” and “D,” which
rest above the “B” on the treble staff. I will add new songs that reinforce these two pitches, while
also using “G” “A” and “B” to continue building those skills. I would do more reinforcement of the
solfege, especially on the notes, “B” “A” and “G,” and provide more opportunities to practice just
the solfege. Just like in Lesson Three, students will work in groups on solfege, so that they can
reinforce each other’s learning as well as their own.
For student 1, I would have her practice on solfege more than the other aids. This will increase
her skills in solfege, and allow her to more accurately make transfers of the notes on the staff to
her hands. This student has shown proficiency in recognizing notes on the staff, so giving the
student a more difficult song to sing and play would appropriately challenge her. This student
may benefit from extra worksheets to practice individually, so if she finishes her work early I will
provide supplementary sheets for her to keep practicing her notes and her solfege.
In the case of student 2, I will work with him individually to practice the hand staff, applying it to
the conventional staff and his own kinesthetic aid. We would work together to create gestures
for the new notes, where I will challenge him to be creative and come up with two more hand
motions for “C” and “D.” I will continue reinforcing him to try more than one method, and see
what is different about the aids, and what they have in common.
With student 3, I will use additional instructional supports and work with him individually. He has
done an excellent job with demonstrating all the kinesthetic aids, but struggled with applying
them to the staff. I will use new songs that use the notes, “B” “A” and “G” and have him practice
his preferred method. I will then work with student 3 to make transfers to the visual staff by
asking questions regarding his method and how it relates to the staff. For example, student 3
chose that he likes the pitch ladder because it is easier for him to use. I would ask him
questions such as, “What makes it easy?” and, “How can you find the notes using the pitch
ladder?” Continuing to work with this student, we will apply the aids to the staff and get him
caught up in note reading, so that when I add, “C” and “D” he will be able to appropriately
transfer the knowledge and have an easier time reading the notes.
For the students with individual needs, I will have them work with students in groups like in
Lesson 3 of this teaching segment. These students responded better to evaluation from their
peers, and were more willing to listen and work when they had group members helping them.
Depending on their specific learning need (i.e. the students on the autism spectrum), I will
modify their assessments to include more gross-motor movement, singing with the teacher, and
demonstration of high and low pitches. The student with mild depression will be allowed to use
any methods that help him, and will be provided with individual instruction outside of class to
work on the new concepts at his own pace. The student who is in STARS will be fit into groups
with harder pieces to analyze in order to appropriately challenge her. They will also be seated
closer to the front so they can hear instructions more clearly.]
b. Explain how these next steps follow from your analysis of students’ learning. Support
your explanation with principles from research and/or theory.
[These next steps for the whole class continually reinforce preexisting knowledge, while adding
new skills to build that uses methods taught in the learning segment. This is an example of
Jerome Bruner’s Spiral Curriculum, in which students are taught concepts through experiences
that are appropriate for their age, and that these concepts are further explored and developed
via repeated exposure. By working in groups, students are also experiencing socialization, a
theory by Vygotsky that addresses the gaining of cultural knowledge by having students interact
with teacher guidance. They are actively participating in a shared goal together, working with
their peers to produce said goal, while the teacher goes around and checks on the progress of
student learning. By continuing the reinforcement of solfege, I apply Zoltan Kodaly’s method of
learning by using folk songs that follow a logical progression of note learning, and transferring
the kinesthetic model to the notes on the staff and improving musical literacy.
Student 1 has already demonstrated that she is capable of reading notes on the staff, so by
appropriately challenging her to use her learned methods on harder songs, it will challenge her
on a greater level to practice the aids. This will help with the STARS student as well by granting
a more challenging approach to their learning. By reinforcing Student 1’s use of solfege, she will
improve her skills in this area of weakness and bring them up to the level of her strengths. By
continuing to model solfege, I will have this student learn and repeat the hand signs while
singing, which will reinforce her knowledge. This is reflective of Albert Bandura’s model of Social
Learning, where a student learns and practices concepts from their adult role-models.
Student 2 will practice motions that were reinforced during class, while at the same time
comparing and contrasting these aids to the ones that he created. This will give student 2 a
reference that they are comfortable with, as well as continuing to build upon the skills that were
focused on throughout the unit. For Student 2, this reflects David Jonassen’s model of
constructivism while individually working with the student. This model will ensure that student 2
creates his own meanings from the experiences he was exposed to in the class, using prior
knowledge to build his own method of learning, and doing so individually in a comfortable
environment that will go at a pace that is most appropriate for him.
Student 3 will continue to build his skills at a more appropriate pace, gaining individualized
instruction from the teacher in order to focus on musical literacy. Having one-on-one instruction
with this student will hone his strengths and weaknesses with more precision. By using the aids
he learned in class, he will transfer the knowledge he acquired to the staff. Working with this
student individually will grow his note-reading skills to the level of his peers. Continued practice
will help him transfer these ideas more efficiently. This is again part of Vygotsky’s socialization
theory, where with enough adult guidance and intervention, the student will be able to build their
skills and use them in a group environment. This will also help out the students on the spectrum,
as well as the student with mild depression and anxiety. Using constant positive reinforcement
for these particular students reflects B.F. Skinner’s and Robert Thorndike’s theory of
reinforcement. Students are constantly being encouraged to actively engage in their learning by
being offered a positive reinforcement, an award to give to students like stickers and
encouraging words.]

Task 3c Assessment Commentary Sangiovanni Edtpa

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Task 3c Assessment Commentary Sangiovanni Edtpa

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K-12 Performing Arts

Task 3: Assessment Commentary

TASK 3: ASSESSMENT COMMENTARY

1. Analyzing Student Learning

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