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Assignment 3 Part (a) Curriculum Differentiation Peter Crane

S.2 2011. EDLT 420

Introduction

This material will use the Autonomous Learner Model by George Betts and Jolene

Kercher and the Amphitheater Model developed by Ken McCluskey, Donald Treffinger and

Philip Baker. These models are North American and there is an emphasis on technology and the

application of learning in the post-school arena. This focus on use of learning appears regularly

in North American modern education and this vocational approach combined with the

technological emphasis has influenced the choice of these two models. Also, both models

highlight personal growth and development as components for maximizing students post

schooling success.

June Maker produced an education model that frames all of the elements of the

teaching/learning matrix within four major groupings; Content, Process, Product, Environment.

Education outcomes required by DET syllabus will be satisfied by class activities informed by

each of the Betts and McCluskey models and these activities will also be codified through

application of Makers model.

The Key Learning Area (KLA) used is Secondary Music which is my subject. Having

completed one practicum and done no classroom teaching other than within that, my

experience with gifted and talented students in the secondary area is limited. I did notice

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though that there was a tendency to move more slowly to new material than I would have and

this will be addressed in the activities chosen.

Lastly, curriculum differentiation is essentially informed by the acceptance that a

students learning is maximized when his/her individual learning style is accommodated (Davis,

Rimm and Siegle 2011:154). This is especially so for the gifted and talented (G&T). Not only is

there a community-wide waste of ability when talent is not developed but G&T students can

suffer stress with consequences that can have lasting effects. DET policy (DET 2004:5) clearly

enunciates the right of all students to an education that is commensurate with their ability and

for G&T students this means a high standard of delivery of teaching. The way to this excellence

is through curriculum differentiation.

Bettss Autonomous Learner Model

Betts (2004: 190) attributes to the model the development of the student as an

independent, self-directed life-long learner. The model showing the five major dimensions is

included, with additional notes, in the Appendix as part of a power-point presentation. Bettss

article in the Roeper Review (Vol. 26, No. 4, 190-191) subsumes the five dimensions in outlining

three levels of curriculum and instruction. Level One, noting that without whole-grade

acceleration initiatives G&T students work within mixed ability classrooms, refers to standard

curriculum material. G&T students are generally not challenged by this material and the social

and emotional development of the gifted child is limited (Betts 2004:190). Level Two

features Teacher-Differentiated Curriculum. Classic differentiation is practiced here and the

Differentiation is completed by the teachers (Betts 2004:190). Betts notes here that Makers

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Content, Process and Product are differentiated. Students morph from students to become

learners and teachers begin to become facilitators of learning. Still the curriculum is in the

hands of the teacher.

The Third and final Level is where the student begins to assume responsibility for

individual curriculum focus. The student becomes a producer of knowledge rather than a

consumer of knowledge (Betts 2004:191). This is similar to construction of meaning in active

learning but reaches further by constructing the actual curriculum or direction of study. The

student by now is encouraged to develop areas of passion for study. Makers Environment for

learning is engaged by the inclusion of a liberalized delivery in a variety of contexts.

Mentorships and excursions are among initiatives that move the student/teacher dynamic well

beyond the standard classroom model. Betts views Level Three In-Depth studies as The highest

level of learning (Betts 2004:191). He sees this as the key to the life-long learning that he

wishes to engender in the student. This production of a G&T student with a positive and

motivated outlook is the aim of the Betts model. Makers Content, Process, Product and

Environment have all been modified to foster the higher delivery of service excellence needed

by G&T students.

The Amphitheater Model

Developed by Ken McCluskey, Donald Treffinger and Philip Baker, the Amphitheater

Model (AM) focuses on changeinevitable reality (McClusky, Treffinger and Baker 2002:1).

AM sees the incongruity of a back to basics approach when the social context has

changed (McCluskey, Treffinger and Baker 2002:1). AM, in viewing technology as so much a

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part of todays teaching/learning as to be no longer a novelty, calls for new models for talent

recognition and development put in place,(sic) and evaluated (McCluskey, Treffinger and

Baker 2002:1).

The comprehensive graphic of the model (McCluskey, Treffinger and Baker 2002:2) has

as its core a classroom where all students can develop to their potential. AM sees the building

of minimum competencies as complementary to the maximizing of talent development. The

first of the five Foundations of AM is Valued Outcomes and Authentic Assessment. This

emphasizes the real-world applicability of learning outcomes or Product in Makers terms.

Standardised skills testing has no place in the creation of authentic education product in this

context although this is not meant to dismiss strong basic skills acquisition. AM sees further into

the distance.

The second Foundation focuses on Alternative Learning Environments (McCluskey,

Treffinger and Baker 2002:3) and is directly connected to Makers Learning Environment

function which frees the classroom from the strictures of the classic model. The third

Foundation is Meta-cognitive Skills. Technology advances have given us an age of information

explosion (McCluskey, Treffinger and Baker 2002:3) and students no longer need to wait for

information to be presented. With information freely available the task is to interpret and use

the information and the teaching of thinking skills, especially to G&T students has moved up

the order of importance. Thinking skills teaching is not an easy subject to embrace as it is not an

obvious discipline. Creative thinking, logical thinking, analogical thinking and the meta-learning

skills can now be emphasized and the time previously consumed in information dissemination

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may now be allotted to information processing especially when informed by thinking skills

development. This would align with Makers Process component.

The fourth Foundation of AM is Diversity and Individuality. Citing Gardners Multiple

Intelligences (McCluskey, Treffinger and Baker 2002:3) and noting that different students learn

best in different ways at different times in different settings (McCluskey, Treffinger and Baker

2002:3) AM embraces basic principles of curriculum differentiation. Makers models four

elements would be used here with differentiation on Content, Process, Product and definitely

Environment. The fifth Foundation of AM features Productive Thinking and again the real-world

or post school environment is the context in view. AM notes emphasizing problem solving in

everyday situations (McCluskey, Treffinger and Baker 2002:3). Classroom problem solving is

practice for problem solving in the working environment. This emphasis on the vocation is seen

in Makers Product where the result of learning is not viewed as a summation of taught

material but as student generated product and/or meaning.

The model proceeds to detail how personal investment by students increases their

engagement and how this is further reinforced by group and project work. An easy facility with

technology is assumed as part of the modern environment. More individuality is available with

self chosen study subjects and areas of personal interest and levels of engagement being

student generated. Affective development and career awareness is stressed along the lines of

many North American models and the authors take the time to quote Socrates If one does

not know to which port one is sailing, no wind is favorable (McCluskey, Treffinger and Baker

2002:6). Use made of the learning is the key and Makers Product is the feature of this aspect.

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(ii) Activites

The activities planned are in line with Learning Outcomes sought from the Year 7/8

Mandatory Music syllabus for the rhythm writing exercise and the HSC Music 1 Stage 6 syllabus

in the case of the improvisation activity. In applying each model separately it should be noted

that both the Autonomous Learner Model and the Amphitheater Model mirror each other

closely. Included in the Learning Outcomes are two subjects; rhythmic notation and

improvisation. Both of these subjects I encountered on Practicum. The rhythmic notation I

observed often and the improvisation lessons I was asked to take. Reflection has provided the

opportunity to review these activities and on the rhythmic notation I will use the Autonomous

Learners Model and to the improvisation activities The Amphitheater Model will be applied.

Rhythmic Notation.

The Y7/8 classes had established a routine for class settling where the first activity for

each lesson consisted of the teacher clapping a 2 bar rhythmic phrase and the students would

notate this phrase with pencil and paper. This activity is essentially an aural activity and uses

traditional notation. These are essential skills and practise makes perfect. The hidden agenda

though was to use the activity as a settling exercise. The question arises though as to when the

strategy outlives it usefulness. G&T students would be particularly disserved by this initiative.

Discipline is only a problem when students are forced into classes where they do not

experience satisfaction (Glasser 1986 quoted in Cornish and Garner 2009:163). The rhythmic

activity satisfied Makers elements of Content, Process, Product and Environment but after the

class had essentially mastered the exercise, barring daily revision, itself an important aspect of

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music training, how much was being achieved in whole-class terms and how was this impacting

on the G&T students in the class? My observations showed that the obvious G&T students were

patient with this but the less visible students who did not seek high status in the class yet who

may have mastered the material, exercised much less forbearance. If the solution was to

continue the settling program by more of the same then the possibility of unsuitability of the

activity arises.

Level One of Betts allows for Prescribed Curriculum and this activity is just that. Level

Two seeks for the teacher to introduce differentiated material and Level Three calls for

Student-Directed Learning to produce the highest levels of learning. The following approach to

the rhythm exercise is offered in line with the Betts model.

As soon as the teacher is satisfied the class can cope with the material a drum

machine or computer is introduced which is fed into a sound system. A rhythmic

figure is written by the teacher as usual yet now is played on the drum machine.

This process has taken the activity from the world of the theoretical into the real world. So

much of what students hear as pop music today is produced by drum machines and

programmed rhythms. Certainly the majority of heard rhythms are experienced via a P.A.

system or amplification. The teacher has modified the Process (Maker) and introduced

technology (Autonomous Learner Model [ALM]).

The teacher invites students to use the technology which will necessitate the class

moving into a position other than at their desks. When the teacher is satisfied the

students have grasped the process they use their own school-supplied computers to

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write their own rhythms. This can only be achieved if they can notate rhythm as per

the initial activity. Students are selected by teacher or themselves to play their

compositions through the P.A. system for appraisal.

The teacher has moved to a facilitator role and guides student product. The teacher oversees

the student interaction with the technology and has left behind the pencil and paper method. It

is at this point that a teachers technophobia will be tested. Individual teacher backgrounds and

strengths will be highlighted now just as are students individualities. The teacher may ask more

from certain students in their rhythm patterns. Groups may be formed of various interests in

advancing the activity. In terms of Makers Model (MM) the Content is the same, the Process is

evolving, the Product is undergoing major revision as is the Environment. Level Three of ALM is

used here to encourage students to research rhythm phrases that are of particular interest or

application to them. ALMs passion areas of interest (Betts 2004:191) are encouraged with this

activity type. Self-esteem and self-discovery are possible outcomes from this activity as

students begin to sound like the record and realize they can emulate their pop idols using

available technology. The demystification process is begun.

The teacher takes a student work sample and demonstrates how to add a bass

guitar part. By doubling the bass drum (kick) a basic commercial strength rhythm

groove is established. This cannot be done on paper and by extending this activity to

the real-world with the use of technology students become aware of the real nature

of modern music (one version it at the least). When students see this they should

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come to the realization themselves that other instruments may be added to the

basic drum and bass groove. The teacher supervises this transition.

What we have seen now is the development of a simple (too simple) lesson in aural recognition

and notation into a lesson in music composition, arranging and production. At this point G&T

students can advance to any position they choose as can any student in the class. All this took

was a shift in method by the teacher from classic teaching to differentiated teaching. All of the

technology would be available in a music classroom today; it is waiting to be used. The

assessment of the Product may be done by peer-assessment, self assessment or by taking the

product out of the school into the town environment for a real-world assessment by the

community. Outstanding product may invite opportunities for mentoring of G&T students

(ALM). The raising of the standard of teaching from basic to one of excellence should, in

tandem with the rise in quality of student product, produce a rise in satisfaction levels and a

concomitant rise in self-esteem among the class.

In conclusion, this upgrading of the activity has seen the teaching of rhythmic notation

develop from a routine settling gesture into an open-ended vehicle for teaching and learning

and one that brings with it opportunities for personal and affective development. All that was

needed was a shift in teaching emphasis and some attention to technological detail.

Improvisation

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Improvisation is the simultaneous creation and performance of music (BOS 2009:26).

The teaching of improvisation is a big job because it includes all the principles of composition

added to the inherent need to perform on the fly. I was asked to take some improvisation

classes on practicum and I made rather heavy work of it. Reflection has provided some ideas on

how this may be addressed. One immediate difficulty encountered on teaching improvisation is

that few students have experience at it and classically aligned students may view it askance. It

is essentially a culturally based practice. Having said that, improvisation is a major and vital

component of pop music and without a facility with improvisation a musician is limited in what

opportunities he/she can pursue.

The Amphitheater Model (AM) stresses change, social context (of today), talent

development, practicality and affective development among other things. The teaching of

improvisation is a good fit for these values of AM. Improvisation is well served by an approach

that combines in equal parts, theory and practice. In this case Theory is taken to mean concepts

and musical composition theory that can fit a variety of applications, in other words songs or

genres. Practice in this case would mean the playing and technical aspects of the students

chosen instrument and the acquisition of a vocabulary, or in other words, a stock of learned

lines, which can be applied with some or no variation, to particular musical situations.

The idea of a teacher merely imparting information is of limited value here. A music

teacher attempting to engage a class in improvisation will need to demonstrate on the

instrument that something works in order to be believed. When the items for demonstration

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become more complex the demonstrations need to be more precise. This involves a ready

facility with the technology.

The teacher plays on the electric guitar a loop of 4 bars of a G minor groove. The

class watches the process and listens as the teacher begins to improvise over the

one chord progression. As various sounds are produced by playing this line over that

chord, the teacher provides a commentary without stopping.

In AM terms the teacher has gone straight to Foundation One which stresses Valued Outcomes

and Authentic Assessment. As opposed to writing musical relationships on the board the

teacher is playing the same thing before them. Whether the music works or not is patently

apparent to the teacher and the class. This method immediately places the activity in the real-

world context. The rhythm guitar part and the improvisation over the top could be the same

arrangement as found in a performance. This real life demonstration is designed to engage

students by involving them and empowering them to see that they could do the same thing

upon learning the parts demonstrated. In terms of (MM) this alludes to Content, Process,

Product and Environment as the class may be asked to gather around. In any event the teacher

is breaking down the classic barrier between student and teacher by playing a live

demonstration which should go well but possibly may need a couple of attempts.

The teacher writes a line on the board which is drawn from the repertoire of a

known player. In jazz studies this may be Charlie Parker. The teacher shows how the

line fits on the board and then demonstrates on the board how with a little variation

applied the line may be adapted to fit a range of places in the tune posed instead of

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in its original place. This is the combination of line (content) with the application of

theory to produce manifold application. The teacher demonstrates the process by

recording a loop of a fragment of the song and placing the line and its variations at

selected places within the looped progression.

This features Content, Process, certainly Product and again Environment in Makers

model. In AM this activity shows Meta-cognitive Skills in demonstrating a method of

thinking, it fosters an individual approach to improvising by featuring possibilities rather

than prescriptions and it highlights creative thinking as a problem-solving action.

The teacher reiterates that the two exercises contain a range of lessons. These are:

there are two basic means of producing improvised material and these are (i) learnt

lines with variation applied to suit and (ii) lines derived purely from composition

principles (this scale goes with that chord), lines need to be assessed over chosen

chords as the quality of the line is dependent on the chord associated, the rhythm

although produced by a looping technology was played in by the player thus

requiring the player to be aware of the rhythm part and the use and mastery of

technology.

This activity has been one of revision. The next range of activities sees the teacher forming

groups by interest to recreate the model using students instruments of choice. The

combinations of instruments will be student-directed and the teacher facilitates the activity. As

a final exercise the teacher can supervise the recording of the group works giving the

opportunity for peer, self or any form of assessment. G&T students are free to choose the level

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of skill they bring to their work. All of Makers four concepts are continually exercised in this

interactive approach to learning and practicing improvisation. AM theory, being a method

based on technology, applicability, student choice, problem-solving and real-world assessment

is particularly suited to this activity.

In conclusion, the study of music and in particular improvisation, provides a good

framework from which to hang the Amphitheater Model. The emphasis on the method used

should provide students with a life-long learning model for improvising. G&T students have the

open approach they need and their pace of exploration is self-determined. The reliance on the

teacher in the Differentiation process is noted by McCluskey effective enrichment depends in

large part on the personality and attitude of the teacher (2002:156). The activities shown for

improvisation teaching embrace the AM model.

Appendix

Board of Studies Learning Outcomes -

4.4 (The student) demonstrates an understanding of musical concepts through exploring,

experimenting, improvising, organising, arranging and composing;

5.4 (The student) demonstrates an understanding of the musical concepts through improvising,

arranging and composing in the styles or genres of music selected for study;

4.5 (The student) notates compositions using traditional and/or non-traditional notation;

5.5 (The student) notates own compositions, applying forms of notation appropriate to the

music selected for study, develop knowledge, understanding and skills in the musical

concepts through composing as a

problem solving;

4.6 (The student) experiments with different

5.6 (The student) uses different forms of

Power-point presentation of The Autonomous Learning Model of Betts and Kercher.

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composing as a means of self-expression, musical creation and

experiments with different forms of technology in the composition process

different forms of technology in the composition process

point presentation of The Autonomous Learning Model of Betts and Kercher.

creation and

composition process;

composition process.

point presentation of The Autonomous Learning Model of Betts and Kercher.

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Included in Orientation (above) is; the understanding of giftedness, group

building activities, self and personal development. Individual Development (above)

includes; inter and intra personal understanding, learning and thinking skills, use of

technology, University and career awareness programs, organizing and productivity

skills. Added to Enrichment (above) can be special courses for students and the noting

that service means community service commitments. The Seminars dimension focuses

on student ability to work in small groups and to present work in group format. The vital

dimension of In-Depth Study (above) includes peer and self assessment in the

Evaluation process and students may work alone or in groups for the in-depth study.

Reference List and Resource File

Resource File for future use.

DET Curriculum support site for Gifted and Talented material

http://www.curriculumsupport.nsw.edu.au/gats/index.cfm

Betts Autonomous Learner Model West Australian DET. This is one example of The Betts

Model in a Public Education State Department. It gives a good overview of the model

and provides external links.

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http://www.det.wa.edu.au/curriculumsupport/giftedandtalented/detcms/navigation/for-

teachers/provision/teaching---learning-models/autonomous-learner-model/?oid=MultiPartArticle-id-

8847765&tab

ERIC Education Resources Information Center. This site specializes in material in the

education field including gifted and talented education.

http://eric.ed.gov/ERICWebPortal/search/detailmini.jsp?_nfpb=true&_&ERICExtSearch_SearchValue_0=

ED268708&ERICExtSearch_SearchType_0=no&accno=ED268708

A useful Power Point presentation of Bettss Autonomous Learning Model.

http://teacherweb.com/LA/EdenGardensMagnet/Snow/TheAutonomousLearningModelPP.ppt

This site gives a view of the international movement in gifted and talented education

and lists the email addresses of high profile speakers.

http://www.cost.esf.org/module/download/speakers_profile_giftedchildren

The reading below refers to a model of differentiation and enrichment which sees the

basic or core curriculum expanded according to the needs of individual students. The

image used is that of basic curriculum which is enhanced by parallel curriculums of

enriched material.

Tomlinson, Carol A. et al 2002

'An overview of the parallel curriculum model'

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In : The parallel curriculum : a design to develop high potential and challenge high-ability

learners / Carol Ann Tomlinson ... [et al.]. Thousand Oaks, Calif. : Corwin Press ; London :

Sage, c2002. Chapter 2, pp. 17-42

This reading contains a good overview of current gifted and talented practice.

Tassel-Baska, Joyce Van. 2008

'What Works in Curriculum for the Gifted'

Source: Asia Pacific Conference on the Gifted. Keynote Address, July 18 2008.

Retrieved 16/3/09 from:

http://www.10apcgifted.org/

Gifted and Talented Education Extract from Support Package DET

www.curriculumsupport.education,nsw.gov.au/ploicies/gats/assets/pdf/ust3beach.pdf

Gifted and Talented Education Differentiating the curriculum and its applicability to the

science and technology syllabus

www.curriculumsupport.education.nsw.gov.au/policies/gats/assets/pdf/ust3elctr.pdf

Extract from Support Package : Curriculum Differentiation, The Williams Model

www.curriculumsupport.education.nsw.gov.au/policies/gats/assets/pdf/uhsi3hstanzac.pdf

Gifted Education Makers Model

http://www.learningplace.com.au/en/g&t

Policy and Implementation Strategies for the Education of Gifted and Talented Students 2004,

Support Package Acceleration, DET , Sydney, NSW.

Policy and Implementation Strategies for the Education of Gifted and Talented Students 2004,

DET , Sydney, NSW.

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Guidelines for Accelerated Progression 2000, Board of Studies, Sydney, NSW.

References

Betts, G. (2004). Fostering autonomous learners through levels of differentiation Roeper

Review, 26(4), 190-190-191. Retrieved

from http://search.proquest.com.ezproxy.une.edu.au/docview/206699457?accountid=17227

Board of Studies 2009, Music I Stage 6 Syllabus, BOS, Sydney,NSW.

Cornish, L., & Garner, J. 2009, Promoting Student Learning Pearson Education Australia, Frenchs Forest,

NSW.

Davis, G., Rimm, S., & Siegle, D. 2011, Education of the Gifted and Talented Pearson, Sydney.

Department of Education and Training 2004, Policy and Implementation Strategies for the Education of

Gifted and Talented Students, DET, Sydney, NSW.

McCluskey, Ken W. & Treffinger, Donald J. & Baker, Phillip A. 2002

'The amphitheator model : An approach to talent recognition and development'

In : Enriching teaching and learning for talent development / Ken W. McCluskey and Donald

J. Treffinger (eds.) Sarasota, FL : Center for Creative Learning, Inc., 2002. pp. 1-7

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