Lesson Plan Adaptation Project

Lesson Plan 1- Melody-writing

Objectives

Students will compose original melodies (National Standard 4 and SOL HG.2)

Procedure

The teacher will play examples of melodies from various genres:

o Scarborough Fair by Simon and Garfunkel
o Mercy, Mercy, Mercy by Cannonball Adderley
o Dont Ask Me Why by Billy Joel
o Radioactive by Imagine Dragons

The class will discuss the different factors that make up each given melody such
as tonality, meter, rhythm, instrumentation, range, dynamics, etc.

Students will then compose their own 8, 12, or 16 measure melodies in a

consistent meter, a consistent tonality, and in a playable or sing-able range.

Assessment

The teacher will look over each melody at the end of class to determine if the
guiding criteria for the melody has been met. Suggestions will be given on a
case-by-case basis to improve the clarity of the artistic intent.

Cognitive
If a student in the class has a sensory challenge that would affect cognition, there
are various adaptations to be made. Large colored blocks could be used instead of note
heads for those with vision challenges. This would make the music infinitely easier to
read and recognize. This also may strengthen the perception of patterns in the music.
Students with hearing challenges could compose their melody at a piano or other
keyboard instrument in order to visually recognize their music. For the in-class listening,
the teacher could create charts of the tunes melodic and dynamic contour in order to aid
the students understanding of the two elements of melody. The teacher could also
provide transcriptions of the tunes in order for students to see the music, if they are not
able to hear it to a high degree.
Regarding issues of retention, the melody should be written down to allow it to be
reviewed outside of class. It could also be recorded and emailed to the student as an mp3
file in order for them to listen to it outside of class. The student could be encouraged to
be able to sing or play his or her melody in order to become very familiar with it.
The teacher could notate a student-generated melody in order to accommodate for
output challenges. The student may be able to compose with a great degree of success,
but the problem may lie in the notation. This keeps the student in control of their art, but
eases an aspect that may cause frustration. Students could also write observations made
about the in-class listening. They may not be able to verbally communicate, but they
could be able to write their thoughts. Charts and pictures could also be used in order to
record observations.
Communication

For students with receptive language challenges, pictures could be a great way to
communicate instructions. Symbolic representation requires very little in the way of
verbal language and can be very effective for the whole class. Also, the teacher should
examine the language that he or she uses to present the lesson. A script could be written
out and then revised to use fewer and smaller words. Trimming the excess out of
instruction could make the lesson a much more enjoyable experience. This is especially
true where music is concerned. When analyzing musical details, we often tend to use
unnecessary jargon. This just clutters the message. Dynamics could be discussed as
louds and softs and meter could be referred to in terms of big beats. These are just a
few examples of possible simplification.
In situations dealing with expressive language complications, pictures could also
be helpful. Students could point to specific pictures in order to engage in the listening
discussion. This would allow them to contribute to the class exploration of musical
elements. Emphasizing repeating keywords in conversation could increase the likelihood
of students picking up on them and using them in responses. By requiring simple phrases,
the student may feel more able to participate in discussion.
Regarding cultural language differences, it is important to establish a consistent,
musically based vocabulary. This can lessen the burden placed upon students whose
native language is not English. By using musical terminology that is consistent
throughout the art form, students can begin to speak a language specific to music.
Multiple modes of delivery should be considered in order to communicate concepts as
effectively as possible. This could include pictures and kinesthetic communication as
well as verbal phrases.

Behavioral/Emotional
Behavioral and emotional challenges are highly situational. They must be viewed
on a case-by-case basis, utilizing careful observation. If a student has a hyperactivity
condition such as ADHD, it could be helpful to provide kinesthetic activities in the
lesson. Students could move to the beat of the listening examples or use their hands to
indicate various dynamic levels. Care should be taken to avoid behaviors that are known
to trigger a students behavioral challenges. Having students work in groups during
discussion or in the composition of their melodies could help students form relationships
and bonds with each other. This could also help the behavioral and emotional
development of students. It should be made clear what behaviors are acceptable in the
classroom. If the student becomes a distraction or danger to other students, he or she
should be evaluated again and appropriate action should be taken.

Sensory
The accommodations mentioned during the discussion of the cognitive domain
could be applied here as well. All students should be able to participate fully in the
activities. This may mean that a new notation system must be devised or that volumes of
listening excerpts must be adjusted. A student with hyper-sensitivity to sounds could also
have the music played very quietly through headphones. The reverse could be used for
students with hearing impairments. By raising the volume and moving the source of
sound closer to the ear, the student would be able to hear more clearly. If a student is
unable to stand and move to the beat of a tune, he or she could pat their knees in time to

internalize a concept of pulse. The Skoog could also be used in order to play the melody
being composed. If a student is unable to notate their melody, it could be played on a
Skoog and then notated by the teacher. This device would aid any student with a
sensorimotor challenge. Its simple interface allows tactile and auditory learning.

Physical/Medical
Students must be viewed on a case-by-case basis, especially in this domain. One
student may have only sporadic episodes during which they are affected by their
challenges. Another may be on a medication that affects their performance in the
classroom. Again, the Skoog is a great tool that would allow students who may be
physically unable to notate or compose their music to participate in the assignment. Some
students may not have excellent control over their fine or gross motor movements. Gross
motor challenges would not prove to be particularly problematic in this specific lesson.
However, fine motor challenges could make it quite difficult to notate their melody. The
teacher could physically write the melody if a student dictates it to them. This would
allow the student to be creatively involved while making it possible for them to have a
written representation of their work.