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Interventions Katie Richardson
What is Intervention ? ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
How do we know where we need to intervene? What is Known (fully accessible) Point of intervention (accessible with help) ZPD What is Unknown (inaccessible) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Linking developmental continua with planning for intervention ,[object Object],[object Object],[object Object],Here are just a few examples of developmental continua : Bloom's Taxonomy of Cognitive Domain Krathwohl's Taxonomy of Affective Domain  The Dreyfus Model of Skills Acquisition The Problem Solving Continuum NB: Our aim is not to make the assessment totally objective.  This is impossible given that we all have biases.  Our aim should be to eliminate as much subjectivity as we can, so that our instrument is as objective as possible.
In this case we are using Dreyfus Process Novice Rigid adherence to rules Advanced Beginner Guidelines based on aspects – may miss details Competent Standard and routine procedures Proficient Looks for most important, deviations perceived Expert No need to rely on rules, looks to the future
For Example…A vocal performance Let’s look at aesthetics… Category:  Technical  Skill Category:  Aesthetics  Expert 3.3 Articulates the lyrics according to the  context of the composition 4.4 Extracts meaning from the composition according to context, notation and knowledge of other extrinsic influences on the composition. 5.3 Contextualizes emotions in the song and conveys the emotions through voice, and facial expression. 6.3 Evokes emotions in the listeners that oscillate  with the moods, interpretations and character contexts of the composition.  16-19 Proficient 1.3 Consistent placement  of voice creating a warm  and rich quality across the breadth of the vocal range. 2.3 Pitch accuracy and flexibility is supported by diaphragmatic control. 4.3 Conveys the context of the piece using notation and  lyrics as a guide. 5.2 Uses the lyrics and notation to guide the light and shade of the performance 6.2 Arouses emotions in the listeners that are congruent with the intentions of the composition. 11-15 Competent 1.2 Consistent  vocal quality that spans the breadth of the vocal range 3.2 Articulates  consonants and rounded vowel sounds. 4.2 Emphasizes key lyrics according to context and notation 6.1 Conveys emotions according to lyrics and notation  7-10 Advanced Beginner 2.2 Accuracy of pitch varies depending on volume and height/depth of the notes. 4.1 Interprets the song based on an understanding of the lyrics. 5.1 Uses the context of the lyrics to emphasize meaning-laden words and phrases.  4-6 Novice 1.1 Breath control varies changing the quality of sound. 2.1 Accuracy of pitch varies throughout the song. 3.1 Clarity of articulation varies throughout the performance. 1-3 Indicators  1. Vocal quality 2.Pitch 3. Articulation of lyrics 4. Interpretation of the context 5. Expression 6. Pathos Cut- points
Summary statements of learning at each level Level 4:  At this level, the student is learning to  refine diaphragmatic control across the full vocal range   to support pitch and tone, and to develop flexibility.  S/he is learning to use the lyrics and notation to inform and convey an understanding of the contexts within the composition. Level 1:  At this level the student is learning to  use the diaphragm to breathe.  He/she is learning to use the muscles of the vocal chords, face, mouth, throat, chest, back and abdomen to control the quality of vocal production and pitch.  Level 5:  At this level, the student is learning to  interpret and communicate the underlying  story and emotions within a composition.  S/he is learning to use the voice to evoke emotions and imagination in listeners congruent with the story that is being told through the composition. Level 3:  At this level, the student is learning to  maintain a consistent quality of sound across the vocal range.  S/he is learning to enunciate and emphasize lyrics in order to communicate  the emotions of the context and the intentions of the composer.  Level 2:  At this level the student is learning to  refine their use of muscles to control volume and pitch.  S/he is learning to understand the relationship between the lyrics and the feelings that the song represents.  S/he is learning to enunciate consonant and vowel sounds to convey meaning Category: Technical Ability  Category: aesthetics  Expert 16-19 Proficient 11-15 Competent 7-10 Advanced Beginner 4-6 Novice 0-3 Indicators  1. Control of Vocal Quality 2.Control of Pitch 3. Articulation of Lyrics 4. Interpretation of the Context 5. Expression relevant to the composition 6. Pathos communicated to the audience
Step 1: Turning the score into 1s and 0s ,[object Object],[object Object],[object Object],[object Object],[object Object]
Step 2: Creating the Guttmann Chart ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Step 3: Ordering the data ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Step 4: finding the ZPD This is our ZPD It is the area where intervention is needed in order to help the students move to the next stage on the continuum.  Notice that the quality criteria are no longer in  sequential order Notice that the students are are no longer in  alphabetical order
Step 5: Divide the students into the general levels At this level, the recommended intervention is… At this level, the recommended intervention is… At this level, the recommended intervention is… At this level, the recommended intervention is… At this level, the recommended intervention is…
Understanding the Chart ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
When we talk about general interventions, what do we need to consider? ,[object Object],[object Object],[object Object],Student Results At this level the recommended intervention for the group is... At this level, the recommended intervention for this student is… Developmental level =  x . Group Targets Individual targets
Step 6: Looking for anomalies What we see here are the students who seem to have interesting ‘gaps’ in their achievement.
Interventions: Henry ,[object Object],[object Object],[object Object],Some students may achieve well on the majority of the criteria, but  there may be a specific area that requires attention.  Before we intervene, it can be important to find underlying causes, so that we can choose appropriate intervention strategies
Interventions:  Nigel ,[object Object],[object Object],[object Object],[object Object]
Other areas requiring intervention The students’ results can be indicative of more than just their level of achievement… The student’s needs Welfare Language Social/cultural Academic Learning difficulties? Background? Interrupted schooling? Reading/writing levels Subject specific vocab ESL/NESB Language processing difficulties? Absences? Trauma or abuse Family difficulties Illness? Behaviour or truancy related? Withdrawal programs? Peer pressure? Cultural background and expectations? Racism/sexism/bullying etc? Social groups? Conflict?
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Intervention Teams Sometimes intervention requires cooperation between teachers, parents and a number of specialized professionals.  Remember: it is your responsibility to facilitate learning.
[object Object],[object Object],[object Object],[object Object]
Interventions: Georgia Case Study: At the beginning of Semester 2, Georgia’s skills had developed well and she was beginning to achieve results in the ‘competent’ level.  However, lately Georgia had been arriving late to class and had missed a few lessons entirely.  On this day, she seemed to struggle to get through the song.  You noticed that the normal vigor with which she tackled her work was not there.
The Intervention Team ,[object Object],[object Object],As professional teachers, we need to understand our students in order to plan for an intervention.
[object Object],[object Object],[object Object],[object Object]
3. What are the student’s needs in this case?  4. Outline some of the developmental considerations that might be influencing this case.
[object Object],[object Object],[object Object],[object Object],[object Object]

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Secondaries lecture intervention

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  • 5. In this case we are using Dreyfus Process Novice Rigid adherence to rules Advanced Beginner Guidelines based on aspects – may miss details Competent Standard and routine procedures Proficient Looks for most important, deviations perceived Expert No need to rely on rules, looks to the future
  • 6. For Example…A vocal performance Let’s look at aesthetics… Category: Technical Skill Category: Aesthetics Expert 3.3 Articulates the lyrics according to the context of the composition 4.4 Extracts meaning from the composition according to context, notation and knowledge of other extrinsic influences on the composition. 5.3 Contextualizes emotions in the song and conveys the emotions through voice, and facial expression. 6.3 Evokes emotions in the listeners that oscillate with the moods, interpretations and character contexts of the composition. 16-19 Proficient 1.3 Consistent placement of voice creating a warm and rich quality across the breadth of the vocal range. 2.3 Pitch accuracy and flexibility is supported by diaphragmatic control. 4.3 Conveys the context of the piece using notation and lyrics as a guide. 5.2 Uses the lyrics and notation to guide the light and shade of the performance 6.2 Arouses emotions in the listeners that are congruent with the intentions of the composition. 11-15 Competent 1.2 Consistent vocal quality that spans the breadth of the vocal range 3.2 Articulates consonants and rounded vowel sounds. 4.2 Emphasizes key lyrics according to context and notation 6.1 Conveys emotions according to lyrics and notation 7-10 Advanced Beginner 2.2 Accuracy of pitch varies depending on volume and height/depth of the notes. 4.1 Interprets the song based on an understanding of the lyrics. 5.1 Uses the context of the lyrics to emphasize meaning-laden words and phrases. 4-6 Novice 1.1 Breath control varies changing the quality of sound. 2.1 Accuracy of pitch varies throughout the song. 3.1 Clarity of articulation varies throughout the performance. 1-3 Indicators  1. Vocal quality 2.Pitch 3. Articulation of lyrics 4. Interpretation of the context 5. Expression 6. Pathos Cut- points
  • 7. Summary statements of learning at each level Level 4: At this level, the student is learning to refine diaphragmatic control across the full vocal range to support pitch and tone, and to develop flexibility. S/he is learning to use the lyrics and notation to inform and convey an understanding of the contexts within the composition. Level 1: At this level the student is learning to use the diaphragm to breathe. He/she is learning to use the muscles of the vocal chords, face, mouth, throat, chest, back and abdomen to control the quality of vocal production and pitch. Level 5: At this level, the student is learning to interpret and communicate the underlying story and emotions within a composition. S/he is learning to use the voice to evoke emotions and imagination in listeners congruent with the story that is being told through the composition. Level 3: At this level, the student is learning to maintain a consistent quality of sound across the vocal range. S/he is learning to enunciate and emphasize lyrics in order to communicate the emotions of the context and the intentions of the composer. Level 2: At this level the student is learning to refine their use of muscles to control volume and pitch. S/he is learning to understand the relationship between the lyrics and the feelings that the song represents. S/he is learning to enunciate consonant and vowel sounds to convey meaning Category: Technical Ability Category: aesthetics Expert 16-19 Proficient 11-15 Competent 7-10 Advanced Beginner 4-6 Novice 0-3 Indicators  1. Control of Vocal Quality 2.Control of Pitch 3. Articulation of Lyrics 4. Interpretation of the Context 5. Expression relevant to the composition 6. Pathos communicated to the audience
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  • 11. Step 4: finding the ZPD This is our ZPD It is the area where intervention is needed in order to help the students move to the next stage on the continuum. Notice that the quality criteria are no longer in sequential order Notice that the students are are no longer in alphabetical order
  • 12. Step 5: Divide the students into the general levels At this level, the recommended intervention is… At this level, the recommended intervention is… At this level, the recommended intervention is… At this level, the recommended intervention is… At this level, the recommended intervention is…
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  • 15. Step 6: Looking for anomalies What we see here are the students who seem to have interesting ‘gaps’ in their achievement.
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  • 18. Other areas requiring intervention The students’ results can be indicative of more than just their level of achievement… The student’s needs Welfare Language Social/cultural Academic Learning difficulties? Background? Interrupted schooling? Reading/writing levels Subject specific vocab ESL/NESB Language processing difficulties? Absences? Trauma or abuse Family difficulties Illness? Behaviour or truancy related? Withdrawal programs? Peer pressure? Cultural background and expectations? Racism/sexism/bullying etc? Social groups? Conflict?
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  • 21. Interventions: Georgia Case Study: At the beginning of Semester 2, Georgia’s skills had developed well and she was beginning to achieve results in the ‘competent’ level. However, lately Georgia had been arriving late to class and had missed a few lessons entirely. On this day, she seemed to struggle to get through the song. You noticed that the normal vigor with which she tackled her work was not there.
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  • 24. 3. What are the student’s needs in this case? 4. Outline some of the developmental considerations that might be influencing this case.
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Notas del editor

  1. MKO = More Knowledgeable Other (such as a teacher, a peer who has already developed the skill, a parent etc.) Ability +1 = An equation Often referred to in ESL teaching. The student’s ability (ie what is fully accessible) plus the next level of difficulty. Eg a book should have most of the words that the reader can understand, but also a few new words. Without the +, there is no new learning. With +2 difficulty, the material or concept is inaccessible. 50:50 = The student gets 50% right and 50% wrong.
  2. Pathos is a quality that arouses emotions Go over cut-off calculations
  3. What stands out? Which criteria have students all scored on? Is there a criteria they all failed to reached? Which criteria appeared to the be hardest?