List of Contents on this Page:

1.  Project proposal (3-day vocal jazz workshop) presented March 09th, 2023

2.  Bases/rationale of project proposal (3-day vocal jazz workshop) presented March 09th, 2023

3. Evidence: Actual Zoom-Recorded Meeting Discussing the March 09th Proposal 

4. ASSURE Model applied to teacher and learner manuals created for Day 1 of proposed workshop

5. Learning theories/IDT models involved in the workshop design 

6. A Point of Reflection- Handling a candid, open-minded conversation/discussion with SME (Conscience of Sacrifice)

Note: It is presumed that you have read through the HOME, ANALYSIS pages prior to reading content on this page. Thank you.  

 PROJECT PROPOSAL  PRESENTED MARCH 09TH TO 

MUED 105 INSTRUCTOR/SME/CAPSTONE GATEKEEPER 

ASST PROF MARIA SHERLA NAJERA (Ma'am Sherla)

Proposal: A 3- day intro to vocal jazz workshop at the UP College of Music with Professor Sherla Najera

Modality: Online via Zoom

Duration: 3 days (1 hr- 1:30 hr per day)

Target Audience: MuEd 105, MuEd 110 or any Voice student with basic to intermediate training in bel

canto/Classical singing

Specific Requirements:

Technical: laptop/desktop computer, Windows 7 or higher OS, internet connectivity of at least

15 MPBS for download/20-30 MBPS for upload, Zoom app

Curricular/Academic: basic to intermediate skill in bel canto singing; knowledge of such musical

concepts as vowel formation, mouth opening, resonation, shifting of registers, rhythmic

flexibibilty, as well as expressive and dynamic tools; knowledge of the blues scale an advantage

but not required

Workshop Objectives (as of March 2023)

Throughout and at the end of the workshop, the student should be able to:

 Highlight applications of bel canto technique into jazz singing in terms of vowel

formation, mouth opening, resonation, shifting of registers, rhythmic flexibibilty,

as well as expressive and dynamic tools (ANALYSIS)

Demonstrate the differences of bel canto and jazz vocal technique and dynamics

by singing a portion of the Classical-Jazz crossover song Summertime (Gershwin)

in both bel canto and jazz styles (APPLICATION)

Revise renditions of one single jazz standard song from a ballad to swing and

bossa nova formats through a performance in an online masterclass with an

esteemed jazz singer (SYNTHESIS)

To justify the flexibility of a jazz song in terms of feel, rhythm and dynamics by

posting a 100-word online blog centered on the creative philosophy of jazz

(EVALUATION)

PROJECT PROPOSAL as of March 09th, 2023

Evidence (Actual Project Proposal) (See Appendix 3.11):

https://docs.google.com/presentation/d/1X290jba4gD2MMt8OgGdxRrfVTMTaaGLu/edit?usp=sharing&ouid=117893716258164377805&rtpof=true&sd=true

Highlights:

• Presentation of overall vocal jazz workshop proposal for MuEd 105 students

• Presented a 3-day vocal jazz workshop proposal (Days 1, 2, 3--- Day 1 in focus)

• Day 1 for iteration. Iteration of Day 1 to inspire Days 2 and 3

• Presented Day 1 syllabi PPT 

• Presented Learner and Student Manuals for Day 1 

I emphasize that at this point, the MuEd 105 students who took the e-learning workshop and who were the subject of the prior needs analysis are now in MuEd 110  (practicum) and are now busier than before, so that a duration of 30 minutes or less for Day 1 was highly desired by the SME. 

I had a verbal agreement between me, Sir Ley  and Ma'am Sherla to pilot Day 1 of proposed workshop--- which  meant that Results of Day 1 iteration were to inspire, influence design/re-design of Days 2 and 3 which at this point were also partly in proposal/hypothetical form. At this point, Day 1 had a concrete instructional design as far as outcomes-based design was concerned--- objectives, content, instructional activities, instructional material, assessment, and a post-session learner experience survey. 

At the time of Day 1 iteration, Days 2 and 3 would be hypothetically presented yet and were still subject to further modifications. 

Evidence: Actual Zoom-Recorded Meeting Discussing the March 09th Proposal 

(See Appendix 3.12): 

https://drive.google.com/file/d/1MGBvJHbdeB1B4weeCmIEK5YkwpKBdP6/view?usp=sharing 

ASSURE Model (Reyes & Oreste, 2017;  Brookes & Harris, 1999) vis-a-vis TPACK Model  (Angraini et al., 2022; Arinto & Garcia, 2009)

• Analyze the learners, Statement of Objectives, Utilize Media, Resources

Trainer/ Teacher Manual for Day 1 https://drive.google.com/file/d/18NidDGlGxVMK8WNupQ2xXCqUcHjdm6mI/view as of March 09th, 2023 (scroll down to lower part of document to see teacher manual information)

Learner Manual for Day 1 https://docs.google.com/document/d/1hQgeqzT6wmzds5qXN6M8a7Ky4gpCH-cqfN0Uq4r-Nmw/edit?usp=sharing as of March 09th, 2023

ASSURE

ANALYZE THE LEARNERS

Analysis was grounded in  the synchronous MuEd 105 class observations (interaction/dialogic learning-focused), the actual curricular content discussed in the MuEd 105 class (the lack of vocal jazz-oriented material), as well as the e-workshop prototype of a vocal jazz workshop created via iSpring Suite (the students' post-session survey responses and recording outputs). 

The survey questions were based on usability of the iSpring Suite-crafted workshop, reaction, openness to vocal jazz content, as well as different learning styles according to Robert Kolb (Sala, 2005).  

STATEMENT OF OBJECTIVES

Objectives were technically outcomes-based, and were crafted based on HOTS (higher order thinking skills) following Bloom's Taxonomy. 

Through today’s session, the workshop participants should be able to:

• Highlight applications of bel canto technique into jazz singing in terms of vowel formation, mouth opening, resonation, shifting of registers, rhythmic flexibility, as well as expressive and dynamic tools (ANALYSIS)

• Demonstrate the differences between bel canto and jazz vocal techniques and dynamics by singing the Classical-Jazz crossover song Summertime (Gershwin) in both bel canto and jazz styles  (APPLICATION)

UTILIZE MEDIA, RESOURCES

Preview materials- PowerPoint deck created for the Day 1 iteration presented / tested in its alpha version between the SME and the designer. PPT was critiqued by the SME (Ma'am Sherla). It was at this point that the TPACK framework was largely useful.

Content knowledge (Angraini et al., 2022; Arinto & Garcia, 2009). SME strongly objected to the fact that she felt like she was going to teach something within uncharted territory. She said vocal jazz was not her forte and was jittery about teaching Day 1. I then ensured that we'd meet halfway in this regard. As she was getting nervous about handling Day 1, I had to empathize and even apologize for the situation. Whereas she voiced out openness to any jazz-related activity in my internship at the onset, I did not know that she was under the impression that I was the one who was going to do the teaching. I had to reemphasize at this point that my function in the internship was to be a designer and not a teacher. As far as I recalled, I had clarified this expectation when I first interviewed with the SME way back; however, the information may have been forgotten due to the fact the SME herself was extremely busy handling MuEd 105, while chairing the Music Education Department, as well as overseeing the UP Open School of Music. I should have set weekly or monthly meetings to reiterate my actual functions in the internship. Nevertheless, on this day of the project proposal presentation (Day 1 content) as of March 09th, I was able to reconcile the content with the SME's province of educational training and expertise. She agreed to teach such MuEd concepts as voice production (phonation, resonation and the like) with emphasis that she would bank on her Classical, bel canto perspective and expertise. Furthermore, she was open to helping the class compare and contrast between Classical and Jazz treatments of Summertime, mostly from a Classical voice perspective. I had to reassure her, that she did not have to be jazz-trained teacher to handle Day 1, given that the workshop concentrates on vocal jazz content on Days 2 and 3. Day 1 was supposed to brush the  MuEd 105 class up on their knowledge of Classical voice production while also comparing paralles between a Classical singer and a Jazz singer treating a crossover song (which means a song both sung by Classical and Jazz artists as part of standard repertoire). The SME also helped polish the objectives into becoming more concrete, doable and measurable ones.

 Prepare environment. The learning environment would be the usual online Zoom class provided by Ma'am Sherla. At this point, the MuEd 105 are now in MuEd 110 still under Ma'am Sherla. They have been using Zoom for  their online sessions on Thursdays. Students are already provided the link to the Zoom class ahead of time. Both the teacher and the students were comfortable navigating Zoom (the camera, the video, screen-sharing, emoticon/emoji, audio and content sharing, private message, group chat features). They had been using Zoom for the past two semesters for MuEd 105 and 110 classes. 

Technological Knowledge (Angraini et al., 2022; Arinto & Garcia, 20.9). Day 1 iteration would have to happen via Zoom. Students were advised of a minimum download speed. They would be able to hear and watch audio-video material during the PPT presentations. They would have to record on vocaroo.com as part of the required tasks for Day 1. Responses to the post-session survey would be handed in through a Google Forms survey. These technologies were easy for the teacher and the MuEd 105 students to use. 

  Providing instruction vis-a-vis Pedagogical Knowledge- Instructional strategy grounded in the Robert Gagne's 9 levels of instruction  (Ullah et al., 2015).         This was largely due to the observation that mostly the MuEd 105 teacher in previous class observations delivered didactic lectures focused on learner-    content interactions. The presumption was that the Gagne model would suit the teacher's  way of providing didactic instruction.

  During the March 09 discussion of the SME's content knowledge vis-a-vis the Day 1 curriculum, the Day 1 PPT deck was then revised. 

   A detailed summary of March 09th meeting minutes/ revisions to Day 1 curricular content (See Appendix 3.14)

   https://docs.google.com/document/d/1w0yW-vnwJF6CAsbCQ2UtSsmPhMTZ_qVcG2hQC-gVFyM/edit?usp=drive_link

   The revised PPT deck following the March 09th discussions would then be as follows, with instructional activities utilizing Robert Gagne's 9 levels of     instruction: 

A detailed teacher's manual was created with instructional activities primarily anchored in Gange's 9 levels of instruction: 

1. Gain attention of the students- Greeting the student at the class onset. Informing the class about Mr. Pharaway Lacdao's instructional design project. Providing general info on the workshop and how Day 1's iteration would impact the redesign/modification of Days 2 and 3.

Also introduce the Crossover Badge- can be obtained upon completion of Day 1 tasks. Badge will eventually get students the chance to join a masterclass with an Aliw-awardee jazz singer

2. Inform students of the objectives- presentation of Slide 3 to the PPT deck/ setting of expectations- mainly towards a bel canto-focused discussion of today's lesson

3. Stimulate recall of prior learning- presentation of important topics (which were discussed back in the MuEd 105 class); presentation of slides 4-7

4. Present the content- reading/presentation of slides 4-7

5. Provide learning guidance

5.1 Discussion of slides 8-14 (vocal production, resonation, articulation, dynamics, with learner participation elicited by some slides where letters had to be filled in to answer a question) 

5.2 Listening activity- slides 15-17: listening to an Opera/Classical singer vs a Jazz singer (with an almost operatic technique) performing a crossover aria/jazz standard Summertime by Gershwin. The operatic technique of the jazz singer was intended at fostering "perceived similarity".

5.3 Reflective observation- slides 18-19: comparing between the Opera and the Jazz singer's technique employed in singing Summertime in reference to MuEd 105 concepts: vowel formation, resonation etc. 

6. Elicit performance (practice)- Students had to record a song of their choice (two treatments: Classical and Jazz)

      7. Provide feedback- Students would get feedback via email from instructional designer after deliberation between designer and SME. 

8. Assess performance- Recordings would  be assessed using MacGregor-based rubrics on vocal jazz performance evaluation (partly patterned after a vocal jazz performance assessment designed in EDS 157).

9. Enhance retention and transfer- Students will have to go through Days 2 and 3 where Day 1 content will be further materialize. In other words, Day 1 will be schematically connected, continued into Days 2 and 3 of the workshop. 

LEARNING THEORIES INVOLVED IN THE  PROPOSAL

PRIOR IDT-related coursework, educational psychology, social science, philosophy courses (social constructivism, cognitivism, classical conditioning/reinforcement-based learning, gamified, contribution-based pedagogy, Bloom's taxonomy-  HOTS (higher order thinking skills), authentic assessment)

DESIGN OF EDUCATIONAL/LEARNING MATERIAL

 Dual coding theory/principles of design etc. - the slides that SME wanted change. SME did not like text-heavy slides. 

A Point of Reflection

Meeting with Ma'am Sherla

SAMS model (successive approximations): I realized this was a very viable model as Alpha and beta versions were being created; at some point, with the SME's unforeseeable suggestions, you would have to revise, improvise, think backwards, and move on with the implementation fingers crossed. However, the whole design of this 3-day workshop rests on the ADDIE model. I reiterate the importance of the COI (Community of Inquiry) principle - social, teacher, cognitive presences (Anderson, 2008). 

Types of curriculum that occurred to me in the design process were perrennial, social reconstructionist in nature (introducing vocal jazz to classically trained students-why jazz?) (Al-Raschid-Arsad, 2020). So, why jazz? Jazz represents equality, inclusivity- jazz represents democracy and world cultures. It would be high time for UP to provide a more inclusive education program through jazz. It's time for an important change. 

Conscience of an instructional designer: A Reflection on my dealings with Ma'am Sherla up until March 09th, 2023

As I have essayed about in a previous course at UP Open (Lacdao, 2020) I would like to lift a note from the paper The Moral Dimensions of Instructional Design, and I quote verbatim:

“We propose that just as the fields of teaching and teacher education are beginning to embrace moral dimensions of their practice, so should instructional design. Why would we make such a recommendation? For two reasons: (1) Instructional design is as much a human endeavor as face-to-face teaching, and all human endeavors are moral by nature, and (2) the more instructional designers focus on the higher or deeper dimensions of learning and teaching that are ensconced in moral principles, the more likely transformative learning will occur—both for the student and for the instructional designer. Our use of the word moral emphasizes neither ethical codes of conduct nor direct teaching of virtues; rather we wish to focus on the ways in which instructional designers conduct and view their work in relation to those who will use their instructional products. Thus the practice of designing instructional interactions becomes a moral endeavor (see Hansen, 2001)” (Osguthorpe et al, 2003).

Ethics is basically about living our lives in a meaningful way. It’s really more than just living in accordance to whatever is legal or politically right, but more importantly, it’s about how our life and our life’s works positively impact the lives and pursuits of other people in our community, in our country, and in the world (Encyclopedia of Education and Human Development, 2005).

Both teaching and instructional design are avenues for people to live better, and more meaningful lives. While teachers focus on being subject matter experts to students, instructional designers ensure that learning in its every form and style happens, and that students or trainees learn as much theoretically as authentically necessary. Teaching and learning are two processes of education, which as a whole envisions the betterment of society through knowledge, attitudes and values cultivated through the teaching and learning processes. To graphically present my idea of how an instructional designer should meaningfully live her or his life, I have organized an instructional designer’s mission in life according to the five consciences (craft, membership, sacrifice, imagination and memory), while cross-referencing these consciences with theories of learning (International Encyclopedia of Organizational Studies, 2008). After all, the very object of instructional design is to create effective, rich, real-world learning experiences (Lacdao, 2020). 

Conscience of Sacrifice

• Compassion, empathy for and a sense of friendship with learners, learning stakeholders

• Learning media that considers needs of learners, especially in terms of alternative, or assistive learning technologies, as well as feminist knowledge

• Upholding of feminist knowledge (Secor, 2006) ; inclusivity in intellectual discussion; sensitivity to multi- culturalism; application of contributions-based pedagogy (Collis & Moonen, 2005)

• Learning activities that ensure gender-equal participation; learning material and content that considers gender equality and equity and inclusivity

• Submission to, reflection on constructive feedback from SMES, learners and organizational stakeholders on the applicability, practicability of instructional design