Sound and Identity

Please read the following script and build ideas based off of it:

Developing an assessment architecture to support teaching and learning, and maximise your impact

Key Learning Outcomes Assessed that need to be shown in the plan:

Choose educational assessment and teaching strategies that align with intended learning outcomes. Critically reflect on the use of specific assessment, teaching and learning strategies. In this assessment you will apply the process of backward design to create an 8-lesson teaching, learning and assessment overview for a Year 7-10 subject and topic of your choice, supported by a justification of the design.

Introduction – the context and task:

In your major subject teaching area you are learning how to teach aspects of the WA K-10 Curriculum to lower secondary classes. For this task you will select a particular topic or section of the WA Curriculum for ONE year group from 7 – 10, that would take you 3 (three) weeks to teach.

Determine 2 or 3 (maximum) learning intentions that you want the students to attain by the end of the three weeks. Construct the Success Criteria aligned to these learning intentions. Consider a summative assessment at the end of the teaching experience to measure your impact on the students over the three weeks. You will need to think about what sort of authentic, valid and reliable summative assessment task you would choose to do this. Having selected the curriculum topic, the learning intentions, success criteria and the summative assessment task, you need to develop a rubric around the success criteria and the differing standards that students might achieve for each criteria (standards for an A; standards for a B; standards for a C; standards for a D and what would constitute a fail E). Having planned the summative assessment task, and developed the rubric, prepare the diagnostic and formative assessment activities that would support your teaching and learning activities across the three-week period. Include feedback – from you to the students and from them to you. Diagnostic Assessment (takes place in Week 1)

Outline how you will assess prior knowledge and readiness. You must explain:

what information the diagnostic tool will provide how this data will inform changes to your planning Formative Assessment (takes place during Weeks 1–3)

Explain how you will implement multiple formative strategies throughout the sequence. You must include:

opportunities for students to demonstrate learning across time regular feedback cycles opportunities for students to act on feedback You must also show:

how formative strategies support spaced practice and retrieval how you will use results to adjust instruction and provide targeted support how you would tailor your teaching and assessment to meet diverse learners Summative Assessment (takes place at the end of Week 3)

Describe a single summative assessment task that measures learning across the three-week period. You must explain:

how the task aligns with learning intentions and success criteria how it demonstrates authenticity, validity and reliability how it assesses cumulative learning (not just final lesson content) how it can measure your impact on students’ learning Summative Assessment Rubric Explanation

You must clearly describe how the rubric enables:

evaluation of student progress over time consistent judgement identification of learning gaps provision of targeted feedback modification of future instruction how performance standards represent clear, observable differences in achievement (A–E) The completed rubric must appear in Appendix 2.

Note: You are not asked to develop or create the diagnostic, formative or summative assessments or resources. You do need to outline, describe and explain your approach as explained above.

You are required to construct the summative assessment rubric.

The goal of this assessment task is to learn how to plan your assessment and teaching strategies in a way that you might practically and realistically do in your first teaching practice (Professional Experience). It is also a precursor to the Quality Teacher Performance Assessment which you will do in 4th year – an assessment you must pass to be able to register as a teacher. This assessment task introduces you to the principles of that assessment task. The aim is to think carefully about how you would plan to assess your students, diagnostically, formatively and summatively, to support and assist them in their learning, to maximise their learning and to measure your own impact on the students’ learning.

Developing the final product:

Advice for Choosing a Topic:

Choose one subject from either your major or minor learning area, from one year group from Years 7 – 10. Access the syllabus from the WA K-10 Outline Select content from one or two content descriptors, which could be typically taught and summatively assessed over 8 x 1-hour lessons (480 minutes in total). Lessons may be practical, theory-based or both. Instructions

Apply the process of backward design to: Determine 2 or 3 (maximum) learning intentions you want students to attain by the end of the lesson sequence. Construct success criteria aligned to each learning intention. Describe an authentic, valid and reliable summative assessment which could be undertaken to measure student achievement and progress over the 8-lesson sequence. You do not need to create the actual assessment, but you do need to create a rubric to evaluate student learning against the Achievement Standard using a 5-point scale. Develop an outline (scope and sequence) of the content and teaching and learning activities which will be undertaken, including diagnostic and formative assessment. The outline must also explicitly demonstrate: Increasingly complex, conceptually deeper and cognitively more demanding learning experiences over time. Embedding of spacing and retrieval strategies to support students’ memory.

You do not need to create the actual assessments or resources.

Note that this part of the assignment should make up the appendix:

Appendix 1: Unit Outline Appendix 2: Summative Assessment Rubric

Write a justification using the following headings and guidelines: Introduction Set the context for the assignment, including the chosen year group, subject, topic and SCSA content descriptors.

Explanation and Justification of Teaching, Learning and Assessment Overview Explain the overall design process used to scope and sequence the teaching, learning and assessment overview. Justify: The use of diagnostic assessment, including what information it will provide, and how it will inform changes to planning. The inclusion of formative assessment elements, spaced practice and retrieval strategies used to inform instruction and opportunities for diverse learners to enact feedback. Authenticity, validity and reliability of the summative assessment.

Classroom Application – Discuss the benefits and challenges for implementing the teaching, learning and assessment overview in a real classroom, and the strategies which could be used to maximise student learning and measure teacher impact.

Explanation of Summative Assessment and Rubric – Describe the summative assessment task used to measure learning across the 8-lesson sequence. You must clearly explain how: The task assesses cumulative learning (not just final lesson content). The rubric enables clear, observable and consistent judgements to be made about student learning and progress against the SCSA Achievement Standard. The rubric facilitates feedback for students and teachers.

Overview

This 8-lesson (480 minute) Year 9 Music sequence uses backward design to build students’ listening/aural skills and performance technique to interpret expressive effects in style-specific ways. It culminates in a single authentic summative assessment that measures cumulative learning, including students’ ability to plan and refine an interpretation across multiple rehearsal cycles.

Learning intentions

Students will:

Develop and refine aural listening strategies to identify musical features and expressive effects in their own and others’ performances.
Apply style-specific vocal/instrumental techniques and control (including dynamics and phrasing) to communicate meaning.
Use feedback and reflection to adjust performance decisions, demonstrating improving accuracy, fluency, and expressive intent over time.

Success criteria

Students can:

Identify at least 3 expressive musical features (e.g., dynamics, phrasing, articulation/tone colour) using listening evidence and describe what effect they create.
Perform selected parts using techniques appropriate to the chosen style, with consistent control of dynamics, tuning/intonation, and rhythmic accuracy.
Explain (in brief form) how feedback from diagnostic/formative checks informed specific rehearsal adjustments and improved outcomes by the final performance.

Curriculum links

AC9AMU10D01: develop, practise and refine listening/aural skills and style-specific vocal/instrumental techniques to interpret music and communicate expressive effects.
AC9AMU10C01: interpret music in a variety of forms and styles, manipulating musical elements and using style-specific vocal/instrumental techniques to communicate ideas/meaning.
AC9AMU10D02: reflect on own and others’ music to inform choices that shape interpretation and performance refinement.

Lesson structure (480 minutes total)

0–60 min · Lesson 1: Diagnostic & listening baseline (Week 1). Teacher runs short “style audition” tasks (2 x 30–60 sec snippets) in groups: students sing/play their assigned motif and then respond to teacher-led listening prompts (identify dynamics/phrasing/articulation). Students complete a brief self-rating (accuracy, tuning/intonation, expressive control) and a listening reflection checklist.
60–120 min · Lesson 1 continued: Technique micro-skills + retrieval. Teacher models 3 technique focus areas drawn from the diagnostic data (e.g., breath/support, tone colour, bowing/attack, sustained intonation). Students practise using spaced warm-ups (Day 1 tasks recorded as audio/video for later retrieval).
120–180 min · Lesson 2: Interpretive plan (Week 1). Teacher introduces a “dynamic & phrasing map” template and demonstrates how to plan loud/soft moments and contrast points. Students complete a rehearsal plan for their section, then rehearse using the map while teacher circulates for targeted feedback.
180–240 min · Lesson 3: Feedback cycle 1 + targeted support (Week 2). Teacher uses quick formative checks: “spot the feature” listening from the group’s recording and short teacher conferencing on one improvement goal per student. Students act on feedback: rehearse for fluency/accuracy, then re-record the same passage to compare with Day 1.
240–300 min · Lesson 4: Retrieval rehearsal & ensemble balance (Week 2). Teacher runs retrieval: students answer 5 fast questions from earlier lessons (e.g., “Where is the softest dynamic and why?”). Students rehearse with new balance targets (listening to establish/maintain balance across parts), then perform a partial run-through for peer feedback using sentence starters.
300–360 min · Lesson 5: Performance refinement (Week 2). Teacher leads style deepening: compares two interpretations (teacher or student clip) and prompts discussion on expressive intent. Students refine articulation/tone colour and phrasing, using a “one change, one test” rehearsal routine, then complete a short reflection: what improved and what still needs practice.
360–420 min · Lesson 6: Feedback cycle 2 + stamina (Week 3). Teacher checks cumulative skills using a timed run (longer than earlier snippets) and tunes instruction based on errors observed (rhythm, tuning/intonation, dynamic control). Students rehearse to improve accuracy and expressive consistency, then submit a brief rehearsal journal entry.
420–480 min · Lessons 7–8: Summative preparation and final performance (End of Week 3). Lesson 7 (420–450): final retrieval warm-up and rubric walkthrough; students practise a full performance with the “planned dynamic & phrasing map” and one last targeted focus. Lesson 8 (450–480): summative task performance + immediate post-performance self/peer reflection.

Resources

Recording device (phone/tablet) and playback screen/speakers
Student rehearsal planning template (dynamic/phrasing map)
Listening checklist and peer feedback sentence starters
Rubric handout (Appendix 2)
Instruments/voices available for performance groups
Metronome/drone app (optional) for intonation support
Markers for annotating scores/parts (paper or digital)
Audio examples in the chosen style (teacher-provided)

Assessment

Diagnostic (Lesson 1): teacher records performance baseline and collects student self-ratings; provides data to select technique priorities for Weeks 1–2.
Formative (Lessons 2–6): recurring teacher listening checks, peer feedback rounds, and “re-record to compare” cycles to ensure students act on feedback; used to adjust grouping and targeted supports.
Summative (Lesson 8): group or solo performance with accompanying brief interpretive reflection assessed against the rubric.
Exit ticket each lesson (2–3 minutes): “One feature I can identify + one improvement I will practise next.”

Differentiation

Support: provide sentence starters for analysis (“I hear… because… this creates…”) and simplified rehearsal templates (fewer dynamic markers to start).
Support: offer small-group technique stations for tuning/intonation and rhythmic accuracy; allow additional time for re-recording.
Extension: students can justify interpretive choices by referencing style conventions and propose an additional expressive variation (e.g., altered articulation for contrast).
EAL/SEN: allow responses through audio notes or annotated templates; use consistent feedback language and models; confirm understanding of performance expectations with rubric exemplars.

Appendix 1: Unit Outline

Topic (3 weeks / 8 lessons): “Sound and Identity” through interpreting a selected song/musical excerpt that reflects cultural/social identity (teacher-curated; may be vocal or instrumental).
Core focus: listening to identify expressive effects, then applying style-specific technique to perform with dynamic and phrasing intent, supported by repeated feedback and rehearsal.

Progression

Week 1 (Lessons 1–3): baseline listening/technique; create interpretive plan; first rehearsal with explicit dynamic/phrasing map.
Week 2 (Lessons 4–6): spaced retrieval of technique and expressive vocabulary; ensemble balance; feedback cycle 1 and 2; increasing rehearsal stamina.
Week 3 (Lessons 7–8): cumulative refinement; final full performance using planned expressive decisions; rubric-based judgement.

Appendix 2: Summative Assessment Rubric (A–E, 5-point scale)

Summative task: Final performance (solo or group) of the prepared section/excerpt plus a brief interpretive reflection (written or audio, max 250 words) explaining (1) expressive features chosen and (2) one concrete feedback-driven change that improved the outcome.

Assessments aligned to learning intentions:

Aural identification and expressive evidence
Style-specific technique control (dynamics, phrasing, tone/tuning, rhythmic accuracy)
Reflection and use of feedback to improve across the sequence

Criteria	A (High)	B (Sound)	C (Developing)	D (Limited)	E (Fail)
Expressive listening & identification	Accurately identifies multiple expressive features with clear cause/effect (effect on meaning/audience).	Identifies relevant features with mostly clear cause/effect.	Identifies some features; cause/effect is partial or general.	Limited identification; evidence is vague or inconsistent.	Unable to identify key expressive features.
Style-specific technique & control	Consistently applies techniques appropriate to style; strong dynamics/phrasing; accurate rhythm and stable intonation/tone; ensemble balance is maintained (as relevant).	Mostly consistent technique; dynamics/phrasing present and clear; rhythm/intonation generally accurate.	Technique is sometimes controlled; dynamics/phrasing uneven; noticeable errors in rhythm or intonation/tone.	Technique attempts are inconsistent; major issues with dynamics/phrasing and/or accuracy.	Performance is largely not controlled; style intent not evident.
Feedback use & improvement over time	Clearly explains at least two feedback-informed adjustments; shows improvement evident from early to final performance.	Explains one key feedback-informed adjustment; improvement evident in final.	Reflection describes feedback but links to improvement may be unclear or minimal.	Limited reflection or changes attempted without clear improvement.	No meaningful use of feedback; no clear improvement.
Cumulative learning & communication	Performance communicates intended expressive meaning across the full section with strong fluency and confidence.	Communicates meaning for most of the section; fluency largely maintained.	Meaning is communicated in moments; fluency inconsistent.	Meaning is rarely communicated; fluency breaks frequently.	Meaning not communicated; performance incomplete/ineffective.

Notes for consistent judgement

Use recorded evidence from Lesson 1, re-recordings, and the final performance to confirm improvement over time.
If a student’s technique is limited, reward effort that results in measurable improvement against the rubric criteria.

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