Graduate Programs in Education Course Syllabus

Transcription

1 Graduate Programs in Education Course Syllabus Course Title, Number, and Section Number: Elementary Methods Week EDUC Number of Graduate Credits: 3 Course Location: Wisconsin Center for Music Education 1005 Quinn Drive Waunakee, WI Course Dates and Times (attend 4 of the 5 dates listed below): June 23, 2017 Orff Schulwerk Processes, Techniques and Applications 9:30 a.m. to 4:30 p.m. June 28, 2017 Early Childhood Music and Movement 9:30 a.m. to 4:30 p.m. July 19, 2017 Gordon Music Learning Theory Overview 9:30 a.m. to 4:30 p.m. August 1, 2017 Kodaly Methods and Applications 9:30 a.m. to 4:30 p.m. August 21, 2017 Dalcroze Eurhythmics Overview 9:30 a.m. to 4:30 p.m. Course Format Campus/on-site: 5% or less of the class sessions of a course delivered online Legal Name of Instructor: Dr. Timothy Schaid Mailing Address: 1005 Quinn Dr., Waunakee, WI address: schaidt@wsmamusic.org Home Phone: Cell Phone: Instructor Preferred Method/ Times for Student Contact: Online Office Hours Instructor s Response Policy is best Instructor will respond to s within 24 hours on weekdays and within 48 hours on weekends. Presenters: Orff Schulwerk Processes, Techniques and Applications: Mary Lea Clark has been working as a music specialist at Donges Bay Elementary School since Prior to her arrival at Donges Bay, she worked in the greater Milwaukee area beginning in 1990, teaching elementary and secondary music. Mary received her undergraduate degree from the University of Wisconsin - Oshkosh and her masters degree from Mount Mary College. Mary was awarded the Beatrice M. Haggerty Scholarship for three consecutive semesters. She was granted the Gunild Keetman Assistance Fund Scholarship and completed her Orff- Schulwerk Level III teacher training at Mills College in San Francisco. Early Childhood Music and Movement: Dr. Alena Holmes is Associate professor and Coordinator of music education at UW-Whitewater. She also teaches music at an early childhood center in Madison. Originally from Belarus, Holmes started her career in her native country where she taught elementary and middle school general music, choir, worked as a musician and singer with popular bands and concert organizations and appeared on popular Belorussian TV and radio shows. She then worked as a singer, musician and

2 teacher in China, Bahrain, Italy, Florida and Wisconsin. Dr. Holmes is very active in presenting research papers and conducting workshops at music conferences in the US and around the world. She published articles in variety of professional journals, such as: Music Educators Journal, Wisconsin School Musician, Perspectives: Journal of Early Childhood Music and Movement Association, JMUSIC, Journal of Desert Skies Symposium etc. Gordon Music Learning Theory Overview: Heather Nelson Shouldice, Assistant Professor of Music Education at Eastern Michigan University, teaches undergraduate and graduate courses in music education and supervises student teachers. She was recently was elected to the position of President-Elect of the Gordon Institute for Music Learning (GIML). She also serves as a GIML faculty member, teaching summer certification courses on Music Learning Theory for music educators and has presented music education workshops and conference sessions in numerous states. Kodaly Methods and Applications: Prisha Gustina retired from the School District of Beloit after teaching general music for twenty-four years in WI. She received her master s degree in music education and Kodály certification from Silver Lake College, Manitowoc, WI. Prisha has taught at both Concordia College and UW- Whitewater. Courses taught include Music Appreciation and Early Childhood Music Methods. Dalcroze Eurhthymics Overview: Kathy Thomsen is an associate professor and fine arts division coordinator at Hamline University in St. Paul, MN, where she teaches piano, Dalcroze eurhythmics, and conducts the Women's Chorale. She is past-president of the Dalcroze Society of America, and holds the Dalcroze license from the Longy School of Music in Cambridge, MA. She serves on the summer faculty at the University of St. Thomas in their graduate programs in music education. To stay in touch with classroom music, she teaches second grade music weekly at Hancock Elementary in St. Paul. Course Description: Take five days to explore the methods of Orff, Kodály, Dalcroze and Gordon in the general music classroom, as well as other early childhood techniques. These single-day workshops will give an overview of each of these music education approaches and will include demonstrations and discussion of classroom applications with practicing teachers. Register for a single day, multiple days, or the entire series. Orff Schulwerk Processes, Techniques and Applications - Participants will experience the sequential processes and holistic music making activities typically incorporated by teachers who use the Orff approach. Improvisation and composition (Standards 3 and 4) will permeate the activities, as primary elements of Orff pedagogy. Singing (Standard 1), movement/dance (Standard 8), and playing (Standard 2) provide the media for teaching/learning music. Reading (Standard 5), analysis (Standard 6), and evaluation (Standard 7) are outcomes of this work/play. Early Childhood Music and Movement - This presentation will address the use of music and movement activities in the early childhood and elementary music classroom to promote and nurture basic musicianship, beat competency, rhythm and pitch pattern recognition, language development, balance and spatial awareness, and social-emotional skills. Attendees will participate in examples of such activities as well as observe a live demonstration. They will discuss how engagement in such activities contributes to good singing, well-developed aural skills, and music literacy. Attendees will leave with a variety of tried and true activities ready for immediate use in their classes, as well as with knowledge about structuring an early childhood music and movement class that develops music literacy and comprehensive musicianship.

3 Gordon Music Learning Theory Overview - This workshop will be an introduction to Edwin Gordon's Music Learning Theory (MLT) as it applies to early- and middle-childhood general music. Songs, chants, movement activities, learning sequence activities and a host of other strategies will be presented in conjunction with explanations of MLT's general theoretical principles and skill sequences. Participants will learn to integrate Music Learning Theory with key concepts from Dalcroze, Kodaly, Orff and Phyllis Weikart. Special attention is paid to discriminating between imitation and audiation, appropriate applications of aptitude testing, as well as tonal and rhythm skill sequencing beginning with pre-audiation skill levels and culminating with Creativity and Theoretical Understanding. Kodaly Methods and Applications - This course is an introduction to Kodály for new teachers and/or fresh materials for teachers with experience. This fun-filled day will be comprised of songs, games and activities that will "prepare, present and practice" musical concepts. Participants will leave with many activities that they will be able to utilize in their classrooms Dalcroze Eurhythmics Overview - Move, play, sing. Discover Dalcroze for yourself as an adult musician, and learn how to use Dalcroze methods with your ensemble, private students, or in your music classroom. This workshop will provide practical ideas for applying Dalcroze principles to various age groups and will introduce resource materials for further exploration. Musicians, dancers, teachers, college/conservatory students are all welcome: beginning and non-pianists, as well as experienced pianists; no previous experience in Dalcroze is necessary. Texts & Readings: Required Reading : Orff Schulwerk Processes, Techniques & Applications (reference copies will be made available) -Calantropio, S. (2005). Pieces and Processes. New York: Schott. ISBN: Frazee, J. and K. Kreuter. (1987). Discovering Orff: A Curriculum for Music Teachers. New York: Schott. ISBN: Goodkin, D.(2002). Play, Sing, and Dance: An Introduction to Orff Schülwerk. New York: Schott. ISBN: X -Lane, M. (1984). Music In Action. London: Schott and Co. Ltd. ISBN: Early Childhood Music and Movement -Weikart, P., Teaching movement and dance: A sequential approach to rhythmic movement. Ypsilanti:High/Scope Press -Gordon, E.E. Learning Sequences in Music. Chicago: GIA -Feierabend, John M., Songs and Rhymes with Beat Motions -Healy, Jane M., PhD., Different Learners. Simon and Schuster, Inc (2010) -Hannaford, Carla, PhD, Smart Moves, Why Learning is Not All in Your Head. Great Ocean Publishers. -Please review the music samples at this URL Gordon Music Learning Theory Overview The Gordon Approach: Music Learning Theory by Wendy Valerio, available at the following URL: It will also be helpful to watch the video at the end of the article.

4 Kodaly Methods and Applications -Excerpt from: Kodály Method 2 nd Ed., Lois Choksy -Excerpt from: The Kodály Concept, Sr. Lorna Zemke D.M.A. -Excerpt from: Pedagogy in Practice: Lived Experiences of Kodály-Inspired Music Educators, Leigh Ann Mock Garner -About Us from Dalcroze Eurhythmics Overview (to be provided at workshop) -Music Educators Journal, Vol. 74 No. 3 (Nov. 1987), pp Discovering Music through Dalcroze Eurhythmics, by Anne Farber and Lisa Parker. -Frances W. Aronoff, Music and Young Children, Holt, Reinhart, and Winston, NY pp The Eurhythmics of Emile Jaques-Dalcroze, and pp Music-Movement Game Strategies In the Elementary Classroom. Recommended Reading and References: Early Childhood Music and Movement -Musikgarten's Music Makers and Cycle of Seasons Curriculum, published by Music Matters, Inc., Greensboro, NC. -Other reference material will shared during the workshop. Gordon Music Learning Theory Overview -The Ways Children Learn Music, Eric Bluestine, GIA Publications, Chicago, IL. -Learning Sequences in Music, 2012 ed., Edwin E. Gordon, GIA Publications, Chicago, IL. -Music Play, Reynolds, Valerio, Bolton, Taggart, Gordon, GIA Publications, Chicago, IL, Graduate Catalog: for reference only- not required to print. Course Objectives/Competencies: At the conclusion of this course, participants will be able to: Demonstrate understanding of a sequential teaching process based on Orff Schülwerk. Demonstrate understanding of singing, saying, dancing, playing as they relate to development of general music curriculum based on Orff Schülwerk. Demonstrate ability to sing, say, dance, and play with sufficient skill to teach using imitation. Demonstrate basic, beginning knowledge of materials which may be used for general music classes taught using the Orff approach. Demonstrate knowledge of basic Orff principles and teaching techniques. Plan a well-balanced early-childhood/early-elementary music and movement class at an appropriate level for children in the developmental stages of their music aptitude. Lead a music and movement activity that targets specific music development and child development needs. Demonstrate an understanding of the development of music literacy and comprehensive musicianship.

5 Demonstrate an understanding of the importance of movement in an early childhood music class. Articulate music learning from the perspective of Edwin Gordon's Music Learning Theory Understand the relationship between Music Learning Theory and the most frequently used methodological models for early- and middle-childhood general music Recognize applications of Gordon's various skill levels, from pre-audiation through Creativity and Theoretical Understanding Incorporate current MLT-based methodologies, or adapt MLT to their current methodologies in elementary general music Be able to choose songs, games or activities to prepare, present and practice musical concepts. Leave with a solid introduction to the Kodály method. Participate in Dalcroze eurhythmics activities that stress active listening, coordination of mind and body, and internalization of rhythm, melody and harmony. Participate in Dalcroze solfège activities using fixed Do, to hear tonal relationships and function. Improvise by moving, singing, and playing to explore music and to integrate theory and practice. Create a short lesson or modify an existing one, to approach teaching from a Dalcroze perspective. Discover Dalcroze resource materials for further exploration. Course Instruction Methodology: Course activities will include hands-on learning, lectures, performances and observations. Outline of Course Content: Orff Outline Students will experience materials typically used in elementary general music classes K-6. Through active participation, discussion, and reflection, students will develop basic knowledge about how the Orff approach may be used for teaching general music. ECMM Outline Attendees will participate in examples of music and movement activities in the early childhood and elementary music classroom, discussing the rationale for each. The session will include a demonstration class of young children participating in a well-balanced lesson featuring the same activities attendees learned, allowing them to observe how children of different ages respond to the activities. Discussion of the demonstration will follow. Attendees will learn how an early childhood music and movement class differs from classes for older children, and why movement is such an integral part of the early childhood music class. They will learn how to structure a 30 minute class and how to develop appropriate long term goals. Finally attendees will learn how early childhood music and movement activities develop children s speech and language, social-emotional, and balance/spatial awareness abilities. Gordon Outline Part I: Understanding Music Learning Theory A. Audiation- what it is and isn t B. Sequential Music Learning 1) Parallels between music and language learning

6 2) Music Vocabularies C. Skill Learning Sequence 1. Skill vs. Content 2. Discrimination Learning vs. Inference Learning 3. Overview of Skill Levels 4. Modeling of teaching/learning at each skill level Part II: Practical Application of Music Learning Theory A. Discrimination Learning Activities 1. Aural/Oral a) Resting Tone (neutral syllable) b) Tonal Patterns (neutral syllable) c) Chord Roots (neutral syllable) d) Macrobeat/microbeat (neutral syllable) e) Rhythm Patterns (neutral syllable) f) Learning Sequence Activities g) Preparatory Audiation/Informal Music Guidance 2. Verbal Association a) Resting Tone (with solfege) b) Tonal Patterns (with solfege) c) Chord Roots (with solfege) d) Label tonality and tonal pattern function e) Macro/micro (with syllables) f) Rhythm Patterns (with syllables) g) Label meter and rhythm pattern function 3. Partial Synthesis 4. Symbolic Association 5. Composite Synthesis B. Inference Learning Activities 1. Generalization -not telling the answer! 2. Creativity/Improvisation 3. Theoretical Understanding Kodaly Outline A. Sequence 1. Rhythm 2. Melody B. Preparation songs, games and activities: 1. Singing voice 2. Rhythm 3. Melody C. Presentation lessons: 1. Rhythm 2. Melody D. Practice songs, games and activities: 1. Rhythm 2. Melody

7 Dalcroze Outline Morning: Attendees will participate in various eurhythmics, solfège, and improvisation activities meant for them as adult musicians. A broad range of activities will be explored to give an overview of the Dalcroze approach. The Dalcroze subjects, which include beat, tempo, meter, duration, measure shape, augmentation/diminution, complementary rhythm, phrase, rests, dynamics/articulation/accents, syncopation, polyrhythm, metric transformation, unequal beats, and time/space/energy, will be experienced through quick reaction exercises, follows, and canons. Afternoon: Some of the experiences from the morning will be scaled up or down to fit various school-age populations, as desired by the workshop participants. For example, a seemingly simple name game done around a circle could introduce young children to tempo and beat, and could be made considerably more difficult to engage high school students in creating phrases of different lengths. Workshop participants will be encouraged to create a new mini-lesson, or modify a familiar one, to approach a subject from a Dalcroze perspective. Assignments and Requirements: Attendance and participation at all five days of the workshop series is required. Complete a daily journal of reflections, including a summary of each day s activities and how they may benefit their teaching. Participants are asked to create at least one lesson plan for each method studied. Write and submit a 4-page reflection paper addressing multiple application ideas gained through the course, including a plan for incorporating each of the methods studied. Assignments may be turned in at the workshop, mailed to Workshops, Wisconsin Center for Music Education, 1005 Quinn Drive, Waunakee, WI 53597, or ed to melsner@wsmamusic.org no later than September 8, Reports turned in after this date will not be graded and beyond this deadline no credit can be awarded for this course. Viterbo University Course Expectations: Regardless of format, all courses are required to meet the required credit hour standards by a combination of seat time and outside work. Outside work could include additional outside reading, group work, service projects, field work, clinical rotations, among other learning activities. Viterbo defines one credit hour as 750 minutes. Three credit courses are to equal 37.5 hours of class time. In addition, each credit of course requires that students spend two hours of work outside of class per week (3 credits = 6 hours per week). Minimum class and outside work time are calculated according to the formula: [ ] x the number of credits of a course = the minimum number of minutes of seat time and outside work required. For example, a three credit course requires a minimum of 7,650 total minutes. Credits Instructional Time Outside Time Total Time clock hours or 2250 minutes 90 clock hours or 5400 minutes clock hours or 7650 minutes Class Participation and Attendance: Attendance is expected in all online, blended, and face-to-face courses.

8 Evaluation Method: Performance will be graded on Viterbo University established policy. An A represent clearly superior work, A B represents higher achievement than average. A C represents average and satisfactory work. The combination grades of AB BC and CD will also be used. Evidence of Superior graduate work indicates not only high achievement, but also an unusual degree of initiative. Grade deduction can occur for assignments that are late or do not reflect the quality of work expected of graduate level work. Grades cannot be submitted to Viterbo until all work has received a grade. Course Grade Calculation: Participation and written work should be done at the highest standard of quality at the graduate level and needs to include the following: A 100% attendance during the time-frame illustrated in this syllabus; participation in small and large group discussions and sharing sessions; concise written report with application ideas gained specifically through the course. Superior graduate work. This indicates not only high achievement, but also an unusual degree of initiative. AB 90% of the above assignment, participation levels, etc. Above average graduate work. B 85% of the above assignment, participation levels, etc. Satisfactory and average work. BC 80% of the above assignment, participation levels, etc. Less than average graduate work. C 75% of the above assignment, participation levels, etc. Work is barely passing at the graduate level. If below a C is to be awarded, it means that participant did not attend the full workshop and/or did not complete the written assignment on time and in a satisfactory manner. All students must obtain a grade of C or better to pass. The following rubric details the above grading scale more specifically: Grading Scale: A % A/B 90-94% B 85-89% B/C 80-84% C 79-83% C/D 74-78% D 70-73% Instructor Late Work Policy: All work is expected to be turned in on time. Late work will be deducted one grade for each day that it is submitted late. Final assignments and projects will not be accepted late. University policy rarely supports extensions, incompletes, independent study, or other adjustments to course deadlines. Conceptual Framework: Viterbo University Programs in Education have adopted the Wisconsin/Iowa Standards for Teacher Development and Licensure, and INTASC (Interstate New Teacher Assessment and Support Consortium) Standards. Each course contributes to the development of one or more of the WI/IA/INTASC Standards, and specific content standards where applicable. Franciscan values permeate the program. The focus of every professional education course is on the learning of the PK-12 pupil. Viterbo education courses infuse constructivist practices, use of technology, PK-12 collaboration, awareness of diversity, traditional and authentic assessment, research, and real-world experiences into the professional development of the teacher. The course will utilize a blend of traditional and authentic assessments. Graduate courses are intended to provide each learner with an opportunity to extend and broaden professional

9 knowledge. The learner will use personal skills of listening, communication, collaboration, and inspiration to further deepen his or her knowledge and to extend his or her preparation for leadership. Viterbo University Core Values: In keeping with the tradition of our Franciscan founders, we hold the following core values: Contemplation, reflecting upon the presence of God in our lives and work Hospitality, welcoming everyone we encounter as an honored guest Integrity, striving for honesty in everything we say and do Stewardship, practicing responsible use of all resources in our trust Service, working for the common good in the spirit of humility and joy Alignment of InTASC, Wisconsin, and Iowa Teaching Standards to Course Objectives and Competencies InTASCStandards: Wisconsin Teaching Standards: Iowa Teaching Standards: Course Objectives and Competencies Standard 1: Learner Development Standard 2: Know how children grow Standard 2: Learning Differences Standard 3: Know children learn differently Standard 3:Learning Environments Standard 4:Content Knowledge Standard 4: Instruction that meets multiple learning needs of students Standard 4: Instruction that meets multiple learning needs of students Standard 5: Know how to manage Standard 6: Competence in a classroom classroom management Standard 1: Know subjects they Standard 2: Competence in are teaching content knowledge Lead a music and movement activity that targets specific music development and child development needs. Plan a well-balanced earlychildhood/early-elementary music and movement class at an appropriate level for children in the developmental stages of their music aptitude. Demonstrate understanding of a sequential teaching process based on Orff Schülwerk. Demonstrate an understanding of the development of music literacy and comprehensive musicianship. Standard 5:Application of Content Standards 1 and 4: Know subjects Standard 3: Competence in and know how to teach planning and preparing for instruction Understand the relationship between Music Learning Theory and the most frequently used methodological models for early- and middlechildhood general music See box above Demonstrate ability to sing, say, dance, and play

10 with sufficient skill to teach using imitation. Standard 6:Assessment Standard 7:Planning for Instruction Standard 8:Instructional Strategies Standard 8: Know how to test for Standard 5: Uses methods to student progress monitor student learning Standard 7: Able to plan different Standard 3: Competence in kinds of lessons planning and preparing for instruction Standard 4 and 7: Know how to Standard 4: Instruction that teach and able to plan different meets multiple learning needs kinds of lessons of students. Be able to choose songs, games or activities to prepare, present and practice musical concepts See box above Improvise by moving, singing, and playing to explore music and to integrate theory and practice Standard 9:Professional Learning and Ethical Practice Standard 10:Leadership and Collaboration Standard 9: Able to evaluate themselves Standards 6 and 10: Communicate well and connected with other teachers and the community Standards 7 and 8: Engages in professional development and fulfills professional responsibilities Standard 1: Implementation of school district s student achievement goals Incorporate current MLTbased methodologies, or adapt MLT to their current methodologies in elementary general music Discover Dalcroze resource materials for further exploration. For the complete, revised (2011) InTASC Standards, please go to: Wisconsin Music Standards are also referenced because this course will reinforce or teach new ideas that teachers can use in the classroom with their students. Standards are labeled alphabetically as they are listed in the Wisconsin Model Academic Standards for Music. Students in Wisconsin will: A. Sing, alone and with others, a varied repertoire of music. B. Play, alone and with others, a varied repertoire of music. C. Improvise music. D. Compose and arrange music. E. Read and notate music. F. Analyze and describe music. G. Evaluate music and music performances. H. Relate music to the other arts and disciplines outside the arts. I. Relate music to history and culture.

11 Disability Statement: The Academic Resource Center provides services to students who have indicated that they have a disability. Students who have a diagnosed disability and require legitimate accommodations must complete an Application for Accommodations Based on Disability-Related Need within two weeks of the start date of class and should contact the Academic Resource Center at Course Support Services: Online learning assistance is available for all students from the Academic Resource Center (live or remote), or by accessing the SmartThinking link within Moodle. SmartThinking is an online tutoring and writing assistance service. Graduate Writing Support: Students may schedule online writing appointments with the Academic Resource Center by going to the ARC web page. You may also access student support services directly from your Moodle course page; go to the top bar for options. Academic Integrity: Maintaining a standard of academic honesty is a responsibility shared by the students, faculty and administration at Viterbo University. The faculty has the responsibility to create an atmosphere in which students may display their knowledge. This atmosphere includes sufficient safeguards to control dishonesty including an orderly testing room, restrictions on text messages, etc. Students have the responsibility to understand academic misconduct and to refrain from it. Students may view details for the academic integrity policy at: Syllabus Statement on Sex Discrimination, Sexual Harassment, and Sexual Misconduct Viterbo University seeks to ensure that campus community members learn and work in a hospitable and inclusive environment. To this end, Viterbo policy and Title IX prohibit sex discrimination, sexual harassment, and sexual misconduct including, but not limited to sexual assault, sexual exploitation, dating violence, domestic violence, and stalking. Faculty members are required to report incidents of sexual misconduct and thus cannot guarantee confidentiality. They must provide the University Title IX Coordinator with relevant details such as the names of those involved in the incident. Viterbo is legally obligated to respond to reports of sexual misconduct, and therefore Viterbo University cannot guarantee the confidentiality of a report, unless made to a confidential resource. Although faculty members must report the situation, students still have options about how a case will be handled, including whether or not they wish to pursue a formal complaint. Viterbo s goal is to make sure students are aware of the range of options available and that students have access to the resources needed. Viterbo encourages anyone who has experienced sexual misconduct or relationship violence to get support and assistance from one of the confidential or non-confidential resources listed on Viterbo University s Sex Discrimination, Sexual Harassment, and Sexual Misconduct web site. For the complete Viterbo University Sex Discrimination, Sexual Harassment, and Sexual Misconduct Policy with resources, procedures, and flowchart, please visit Viterbo University s Sex Discrimination, Sexual Harassment, and Sexual Misconduct web site. Counseling Services It is common for college students to struggle with stress or other emotional challenges, and you may feel a need or desire to seek professional help. If you would like to talk to someone, you are encouraged to contact Viterbo University s Counseling Services: For assistance after normal business hours, you can call the Great Rivers 24-hour helpline: dial 211 from a campus phone or For emergencies, dial 911 or campus security (3911 from campus phone or )

12 DISCUSSION BOARD RUBRIC Criteria Exceeds Expectation (9-10 points) Meets Expectation (6-8 points) Below Expectation (0-5 points) Relevance Posting responds directly to the discussion question and includes pertinent, connected or applicable information. Shows original thought that goes beyond the obvious and attempts to stimulate further discussion. Posting responds directly to the discussion question. Does not prompt further analysis of the topic. Posting does not respond directly to the discussion question. Gives little indication that the reading/assignment was completed. Relies on paraphrasing or uses material out of context. Use of Examples Posting reflects critical thinking and references previous or current session material and/ or relevant personal experiences. Posting includes at least one reference to session material and/ or relevant personal experiences. Posting does not include any references to session material or relevant personal experiences. Contribution to Learning Community Interacts easily and accurately with other posts in the discussion. Offers critical analysis of a key theme or existing post(s) which deepens or extends the conversation. Posting engages with ideas from the session or the perspectives of the other posts in the discussion. Shows attention to other posts and makes a positive contribution to the conversation. Posting does not critically engage with the posts of other students. Does not engage with the learning community as it develops. Comprehension It is evident from the posting that the participant understands the discussion question and the key ideas from the session material. In addition, the participant employs higher order thinking skills (analysis, synthesis, evaluation) when responding to the discussion question. It is evident from the posting that the participant understands the discussion question and the general ideas referenced in the session material. It is not evident from the posting that the participant understands either the discussion question or the ideas referenced in the session material. Written Quality Refer to Writing Rubric- Exceeds Expectation. Refer to Writing Rubric- Meets Expectation Refer to Writing Rubric- Below Expectation Timeliness Postings well distributed throughout the week. Initial posting is made by Thursday of each week in order to allow time for others to read and respond. Response posts are made must be made by Saturday of each week. Postings somewhat distributed throughout the week. No more than two postings made on the same day. Initial posting is made Wednesday and response posts are made by Saturday of each week. Postings are made on the same day or postings are late in the discussion period and may not allow adequate time for others to respond. Tone Posting has a positive, supportive and professional tone. Motivates and encourages others. Posting has a positive, supportive or professional tone. Posting is flat or negative in tone. Word Count Initial posting consists of a minimum of 250 words and the first two responses consist of a minimum of 200 words Initial posting consists of a minimum of 250 words and the first response consists of a minimum of 150 words. Initial posting consists of less than 200 words and all responses consist of less than 150 words. Total Points

13 Discussion(s) and Responses to Text Book & Reading - Guidelines Important Points Proficient 2 points total Presents 5 or more essential points from the assigned reading. Explains why these essential points are important. Makes connection to self and others. Basic 1 point each Presents 4 important points or some of the points are superficial. Minimally explains the essential pointslacks significant detail. Does not make connections to self or others. Minimal No points Content of is ambiguous, lacks depth, or simply retells what has already been stated. Perspective (Viterbo Graduate Student Perspective thinking is shared) Student s perspective, focal point, or point of view is included in response to readings, presentations, and discussions of each author s topic. Student s perspective, focal point, or point of view is included but not clearly connected to readings, presentations, and discussions. Student s perspective, focal point, or point of view is not included and/or connected. Presence of Writer s Voice Mechanics The writer has integrated his or her own experiences to support stance as appropriate. Well written with few if any mechanical errors. Some experiences are integrated to support stance. Some mechanical errors exist; however, they do not interfere with meaning. More integration of experiences is needed to support stance. The paper needs revision.

14 WRITING RUBRIC Criteria Exceeds Expectation (6-7 points) Meets Expectation (3-5 points) Below Expectation (0-2) Structure Thesis clearly defines scope and purpose. Body supports thesis with evidence from authoritative sources. Conclusion summarizes main idea and shows why it matters. Thesis defines purpose, although it may be too broad or too narrow for the length of the paper. Body supports thesis with evidence from reliable sources. Conclusion restates main idea. Thesis is missing or paper does not cover the idea stated in the thesis. Evidence is not sufficient to prove thesis or is based on unreliable sources. Ending does not tie paper together. Flow Ideas are arranged in a clear, logical order that is easy to follow. Transitions guide the reader smoothly from one idea to the next. Ideas are arranged logically. Transitions give the reader some help in following the argument. Movement between ideas is abrupt or illogical. Depth Paper shows extensive knowledge of standard works and terms in the field. Readers questions and objections are anticipated and answered. Writer provides new information, clarity, or a unique perspective to scholarly discussion of topic. Paper shows familiarity with standard works and terms in the field. Readers may be left feeling that an important aspect of the subject has not be explored. Paper reviews what others have written about the topic. Paper appears to be hastily written. Arguments are unsupported. Exploration of the topic is superficial or contains numerous accuracies. Use of sources Material from other authors is smoothly integrated into text. Quotations are limited to statements that are particularly striking or examples in which the source s precise wording is important. Material from other authors is credited and used as supporting evidence. Material from sources is introduced, but order of ideas depends on the original. Material is plagiarized. Material from other authors appears to have been cut-and-pasted into text. All quotations are acknowledged according to APA style. Conventions Writing follows the grammatical and spelling conventions of standard English. Diction is formal, avoiding I and we, slang, over used words such as a lot and stuff, and contractions. [for exception, see APA 2.04] Writing generally follows the grammatical and spelling conventions of standard English. Writing is difficult to follow because of numerous errors in spelling and grammar. Total Points Refer to the writing rubric for detailed expectations of graduate level writing. Graduate writing assistance is available to all students through the ARC.