Reading in the Content Area: Reading Project

Transcription

1 Reading in the Content Area: Reading Project Stephanie Green Education 352 Professor Schilling December 9,2009

2 CONTENTS A. Textbook InfonnationiCoUfse Infonnation B. Philosophy of Reading in my Content Area C. Readability Test D. Trade Books E. Lesson Plan to Activate Prior Knowledge of Unit's Subject F. Lesson Plan to Introduce New Vocabulary G. Lesson Plan Modified for ADHD H. Lesson Plan Modified for Learning Disabilities 1. Lesson Plan Modified for Gifted and Talented 1. Lesson Plan Modified for Behavioral Disorders K. Lesson Plan Modified for Autism L. Lesson Plan Modified for Mental Retardation M. Lesson Plan Modified for Sensory Impainnent N. Unit Test and Modified Unit Test O. Reflection Paper

3 A. TEXTBOOK/COURSE INFORMATION NAME OF COURSE/GRADE LEVEL: Elementary Music Third Grade DESCRIPTION OF COURSE: This is an elementary music class for third graders. This course is designed to help the students develop their music skills based on past knowledge and new knowledge they willieam in the course. NAME OF CHAPTERIUNIT: Music is for Everyone!! DESCRIPTION OF CHAPTERIUNIT: This unit includes information about long and shorter beatings, fermatas, tempo, dynamics, and pitch steps. The students will learn how to describe beatings in their music, the use of the fermatas, the different dynamics and their meanings/use, and the different variety of pitch steps found in music. TITLE OF TEXTBOOK: MUSIC and YOU NAME(S) OF AUTHOR(S)/EDITOR(S): Barbara Staton, Merrill Staton, Marilyn Davidson, Phyllis Kaplan NAME OF PUBLISHING COMPANY: Macmillan Publishing Company COPYRIGHT DATE: 1988 READING LEVEL OF TEXTBOOK: Third Grade reading level

4 B. PHILOSOPHY OF READING IN THE CONTENT STANDARDS: Music Notate quarter, eighth, half, dotted half, sixteenth, and whole notes, and quarter, half, and whole rests using iconic or standard notation. Music Read and perfonn expanded pitch patterns and simple songs using solfege and letter names of the treble clef. Music Identify and sing or play steps and skips in notated pitch patterns. Music Identify and explain the dynamic markings forte, mezzo forte, piano, mezzo piano, crescendo and diminuendo (decrescendo). Music Identify and explain the musical symbols for fennata, octave, and D.C. al fine. IMPORTANCE: The importance ofthis unit is for the students to learn some of the basic elements to understanding music, not only choral but instrumental as well. This unit will cover different rhythmic patterns, the names of the certain notes and the value of beats they receive, and tenns and symbols specific to music. PHILOSOPHY: Reading in music in general is not as important as other content areas. For English or Social Studies, it is essential for you to read to be able to understand the material and pass the class. Music is not that way. In my content area of choral music, reading is close to nonexistent. From my past experiences, we rarely ever read in choir class unless the administration mandated it. Reading could be used in choral music to supplement certain lessons. For example, we could be teaching about famous composers and we could have biographies of those composers for the students to read to have a better understanding of those composers' lives. It is harder to incorporate reading into music. I want to experiment with reading in choral music and see how the students receive the idea. Reading the music is helpful in learning music but actual literary reading is not as common in music as in other subjects.

5 C. READABILITY TEST Text: Staton, Barbara, Merrill Staton, Marilyn Davidson and Phyllis Kaplan. MUSIC and you. New York: Macmillan Publishing Company Excerpt 1 In 1848 gold was discovered in California. Soom many people began to travel west in covered wagons in hopes of finding gold. The journey was long, hard, and dangerous. An American composer named Ferde Grofe wrote music to suggest the story of these travelers. This music, called "Desert Water Hole," describes three parts of a day during the journey west. Section 1: The travelers are very tired and afraid because they are lost and have run out of water. Suddenly, the animals sense that water is close by. Everyone becomes excited. Section 2: The travelers give thanks for having found water. Section 3: They celebrate by (11) Sentence length: 9.43 sentences Number of syllables: 161 syllables Excerpt 2 Spirituals are songs that have a religious or spiritual meaning. The oldest spirituals were not written down but passed on from singer to singer. Spirituals were first sung by Africans brought to America as slaves. Spirituals can be slow or fast. Often there is hand clapping with the music. Spirituals can be sung by a soloist or a soloist and chorus. "Train Is A-Coming" is sung by a soloist and chorus. This type of song is called call and response. Listen to "Train Is A-Coming." Then make up some of your own verses. Raise your hand when you ( ) Sentence length: sentences Number of syllables: 138 syllables

6 - Excerpt 3 The ch'in (chin) is a very old Chinese instrument. It is made of wood and has seven strings. Its shape and sound may remind you ofthe Appalachian dulcimer on page 54. The ch'in is laid on a table and played by sliding the fingers of one hand up and down the strings to make different pitches while the other hand plucks the strings. According to tradition, the ch'in is played by either scholars or the very wise. The ch'in is usually played without accompaniment. The kora (ko'ra) is a stringed instrument from Africa. Its body is round and made from a ( ) Sentence length: sentences Number of syllables: 141 syllables The readability test is an excellent rubric for teachers to use when deciding on books for their classroom. I agree and disagree with the outcome of the readability of the text. The textbook is a sixth grade reading level. In the examples given above, some of the words, such as accompaniment and Appalachian, may be difficult for third graders to pronounce but easier for sixth graders to pronounce. I disagree because the illustrations and big text style would not be seen in a sixth grade book. I did suspect that the book would be difficult for the students to read but I did not suspect that the book would be at a much higher level (sixth grade) than the actual level (third grade). Some of the content is for older students. An example being the idea of the ch 'in. I know personally that I did not learn about the ch 'in until I was a college student. The book is better suited for an older audience but it would need a few modifications before that would happen.

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8 D. ANNOTATED LIST OF TRADE BOOKS FOR MUSIC Cole, J. (1995). The Magic School Bus: In The Haunted Museum A Book About Sound. New York: Scholastic, Inc. This book introduces the concept of sound to children. Through the fun activities that take place with Ms. Frizzle and the Magic School Bus, the children ofthe classroom learn how sound is created. Children also learn how the pitch of the sound can affect the wave of the sound. Hayes, A. (1991). Meet the Orchestra. San Diego: Harcourt Brace Jovanovich. This book introduces the orchestra and its instruments to children. The children can learn about the different characteristics of the orchestra. The author uses animals playing the different instruments to add fun to the book. Kampen, V. (1989). Orchestranimals. New York: Scholastic, Inc. This book shows the different instruments ofthe orchestra. The author introduces the instruments as the animals show up who play those instruments. The author also shows other musical terminology in the pictures that help the children learn more about music and the orchestra. Koscielniak, B. (2000). The Story ofthe Incredible Orchestra. Boston: Houghton Mifflin Company. This book shows the progression of orchestra throughout time. The author takes the reader through the different time periods to learn about the styles of orchestra during that time period and also the important instruments of the time period. The children will learn all the different instruments from various style periods until present that were or are used in the orchestra.

9 Waddell, M. (1991). The Happy Hedgehog Band. Cambridge: Candlewick Press. This book shows how the sounds of music can bring people together. All the hedgehogs hear the beat ofthe first drum and want to join in. Children can learn about the friendships and fun created through music in this book. Trade books can enrich my classroom's content because they can offer more information about a topic that a student might find interesting. They will help explain a topic more clearly if the student does not get the topic the first time through. The trade books are also there for the students to read when there is extra time in the lesson. The trade books can tie in with the lesson that I am teaching and help enhance and support the knowledge that the student learned for today. The above mentioned trade books are especially efficient in elementary school music classrooms because they can help children learn the basic concepts of music and orchestras in the earlier years of their lives. Trade books can also help draw in the students' interests to the topic ofthe lesson that day. In music, a section from The Story ofthe Incredible Orchestra could be read before learning about the Baroque era of music. The storyline of The Story ofthe Incredible Orchestra could help the students tie the knowledge they learned in their lesson with another source of information.

10 E. LESSON PLAN TO ACTIVATE PRIOR KNOWLEDGE OF UNIT'S SUBJECT MANCHESTER COLLEGE Department of Education LESSON PLAN by: Stephanie Green Lesson: Introduction to Rhythms and Notes (Activate Prior Knowledge) Length: 45 Minutes Age or Grade Intended: Third Grade Elementary Music Class Academic Standard(s): Music Notate quarter, eighth, half, dotted half, sixteenth, and whole notes, and quarter, half, and whole rests using iconic or standard notation. Performance Objective(s): 1. Given the piece "Li'l 'Liza Jane", the student will circle the quarter notes and rests correctly circling the notes and rests in at least twelve out ofthe sixteen measures. 2. Given a piece of staff paper, the student will draw quarter notes and quarter rests getting 6 out of 8 drawn correctly. Assessment: 1. The student will be given a piece of music, "Li'l 'Liza Jane" that they will circle the quarter notes and rests in this piece correctly circling the notes and rests in at least twelve out of the sixteen measures in the piece. 2. The student will be given a piece of staff paper. They must draw eight of each note or rest. They must get at least 6 out of the 8 notes drawn correctly. Advance Preparation by Teacher: 1. Create examples to show the students what quarter notes and rests look like in music. 2. Select a piece of music, "Li'l 'Liza Jane" that the students can be assessed on by circling the quarter notes and rests of the song. 3. Make copies of blank staff paper for the students to draw notes on for their assessment. 4. Create a worksheet for the students to practice drawing the different notes and rests.

11 - Procedure: IntroductionlMotivation: Play "Long-Legged Sailor", "Supercalifragilsticexpialidocious", "Oh, Dear, What Can the Matter Be?", "Camptown Races", and "Mr. Frog Went Courtin'" for the class. Ask the class to clap their hands, tap their feet or slap their thighs along with the songs. Ask the class which song they liked the best. Ask the students if they know anything about rhythm, what they want to know about rhythm. Explain the slapping, clapping or tapping is called rhythm and we are going to review different rhythms today and throughout this week. (Gardner: MusicallRhythmic) (Bloom: Evaluation) Step-by-Step Plan: 1. Draw a quarter note on the board. Explain to the class that this is a quarter note and it receives one beat. Clap once and have the class repeat to show what one beat (a quarter note) feels like. (Gardner: BodilylKinesthetic, Visual/Spatial, MusicallRhythmic) 2. Clap several different rhythms with quarter notes and have the class repeat after you. Ask them ifthey have any questions about the rhythm the quarter note gets. (Gardner: BodilylKinesthetic, MusicallRhythmic) 3. Explain that to draw a quarter note they must make a circle and fill it in and draw a straight line on the right side of the circle going up. Demonstrate this and ask if there are any questions. (Gardner: Visual/Spatial, MusicallRhythmic) 4. Ask for three volunteers to come and demonstrate drawing a quarter note. Help them out when needed. Ask the class iftheir quarter notes look right. (Gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal) (Bloom: Knowledge) 5. Pass out the blank staff paper and have them practice drawing quarter notes. Allow them to work in groups or individually. (Gardner: MusicallRhythmic, Visual/Spatial, Interpersonal, Intrapersonal) 6. Walk around the room and check to make sure they are drawing them correctly. 7. Grab their attention by clapping a beat using quarter notes. Explain that there is also silence in music as well. Demonstrate by clapping a beat with quarter notes and rests. Ask the class to repeat that beat after you. (Gardner: BodilylKinesthetic, MusicallRhythmic) 8. Explain that the silence is called a rest. Ask the class the class what is the difference between a rest and a beat. Call on an individual. Ifthey do not seem to get it, repeat the difference and ask ifthere are questions. (Gardner: MusicallRhythmic) (Bloom: Comprehension) 9. Draw a quarter rest on the board. Explain that you draw a quarter rest by making a straight line left to right, a diagonal line down to the left from the right side of the straight line, a straight line to the right from the end of the diagonal line, another diagonal line from the end ofthe second straight line going to the left diagonally, and a hook swinging out to the right and down. Explain how to draw the quarter rest as you are drawing. It may take the students a few minutes to understand the concept of drawing the quarter rest. (Gardner: Visual/Spatial, MusicallRhythmic) 10. Ask the students to draw quarter rests on the same sheet as their quarter notes. Tell them they can work in groups or individually. (Gardner: MusicallRhythmic, Interpseronal, Intrapersonal)

12 Name: Cirde the quarter notes and quarter rests in the example below. Li'l Liza Jane 1-1 ~ J ~ J ij. I ~ u J

13 Name: Practice drawing quarter notes and quarter rests. Draw on the staff lines below next to the examples given.

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15 Name: -----L.--'---'-=-:::...:...--_------'--- _ Circle the quarter notes and quarter rests in the example below. Li'l Liza Jane ~J ~. m~ j 14 ~ j ~ ij. ~l

16 Name: ~0SUJel V...e-t..\ Practice drawing quarter notes and quarter rests. Draw on the staff lines below next to the examples given.

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18 - F. LESSON PLAN TO INTRODUCE NEW VOCABULARY MANCHESTER COLLEGE Department of Education LESSON PLAN by Stephanie Green Lesson: Introduction to Rhythms and Notes (Introduce New Vocabulary) Length: 45 minutes (may last several days to cover all aspects of the standard) Age or Grade Intended: Third Grade Elementary Music Class Academic Standard(s): Music Notate quarter, eighth, half, darted half, sixteenth, and whole notes, and quarter, half, and whole rests using iconic or standard notation. Performance Objective(s): 1. Given the song "Tideo", the student will circle the eighth and sixteenth notes in the song accurately circling at least ten out ofthe first twelve measures of music. 2. Given a piece of staff paper, the student will draw eight eighth notes and eight sixteenth notes accurately drawing at least six out of the each ofthe set of eight notes. Assessment: 1. The student will be given the song "Tideo". The student must circle the sixteenth notes and eighth notes found in the first twelve measures of music. They must accurately circle the notes in ten out of the first twelve measures of music. 2. The student will be given a blank piece of staff paper. The student must draw eight eighth notes and eight sixteenth notes. They must accurately draw six out of the eight notes within each set. Advance Preparation by Teacher:

19 1. Create examples for students to see what eighth notes and sixteenth notes look like in music. These examples will be written on the board. 2. Make copies of blank staff paper to hand out to the students for their assessment of drawing the notes. 3. Make copies of "Tideo" for the assessment. 4. Create a worksheet for the students to practice drawing eighth notes and sixteenth notes. Procedure: IntroductionlMotivation: Clap out a rhythm and have the students repeat that rhythm. Tap out a rhythm on your legs and have the students repeat that rhythm. Stomp your feet with another different rhythm. Ask them which rhythm they like better and why. Remind the students that we learned about quarter notes and quarter rests yesterday. Today we willieam about eighth and sixteenth notes as well as some new vocabulary. (Gardner: Bodily/Kinesthetic, MusicallRhythmic) (Bloom: Evaluation) Step by Step Plan: 1. Draw an eighth note with a flag and two eighth notes stemmed together. Explain that the first is an eighth note and it receives 12 of a beat. Clap a short clap and have the class repeat you. Explain that the next is two eighth notes together and they equal one beat same as the quarter note. Clap two short claps and have the class repeat you. (Gardner: Bodily/Kinesthetic, MusicallRhythmic, Visual/Spatial) 2. Have the students take out the staff paper they had from yesterday to draw examples of eighth notes with a flag and two eighth notes stemmed together. Explain step by step how to draw them as the students draw on their paper as you draw on the board. (Gardner: Visual/Spatial, MusicallRhythmic) 3. Ask the students to draw a few more eighth notes with flags and eighth notes stemmed together on their staff paper. Walk around to make sure they are drawing them correctly. (Gardner: Visual/Spatial, MusicallRhythmic, Intrapersonal) 4. Draw a sixteenth note with a flag and two sixteenth notes stemmed together on the board. Explain that the first is a sixteenth note and it gets a 1;4 of the beat. Clap a really short clap and have the class repeat you. Explain that the next is two sixteenth notes together and they equal a half of a beat which is the same as an eighth note. (Gardner: Bodily/Kinesthetic, MusicallRhythmic, Visual/Spatial) 5. Have the students draw examples of sixteenth notes with flags and sixteenth notes stemmed together. Explain step by step how to draw these notes as the students draw on their papers. (Gardner: Visual/Spatial, MusicallRhythmic)

20 6. Ask the students to set that aside for a moment and have them pull out a few note cards to write some new vocabulary on them. Draw a fermata on the board. Tell the class to draw this on the blank side ofthe note card. On the back, have them write the definition of a fermata which is to hold out a beat longer than its value. (Gardner: Musical/Rhythmic, Visual/Spatial, Intrapersonal) 7. On the next note card, they will draw the forte symbol and write the meaning of loud sound on the back. Have the students write new vocabulary note cards for mezzo forte, mezzo piano. piano, crescendo and decrescendo. Have them draw the symbol of each one on the blank side of the note card and write the definition on the other side. (Gardner: Musical/Rhythmic, Visual/Spatial, Intrapersonal) 8. Explain that they will need to know these terms because they are found a lot in music and they are very important to music. Ask them to take them home and study them as flash cards. Also explain that we will review these terms at the beginning of each lesson. (Gardner: MusicallRhythmic) 9. Ask the students to put away their note cards after they are finished. When the whole class is finished, draw examples of a quarter note, eighth note and sixteenth note on the board. Ask the class which one is a beat and have someone come and point to that example. Repeat that for the eighth note and sixteenth note. Ask the students if they have any questions about that. (Gardner: Musical/Rhythmic, Visual/Spatial) (Bloom: Knowledge, Comprehension) 10. Pass out the ten measures of "Tideo." Explain to the class that they must circle the sixteenth notes and eighth notes in the first ten measures of the song. They must circle at least ten out of the twelve measures correctly to show proficiency in this lesson. Explain they must work alone. Pass out a blank piece of staff paper. Explain that the students must draw eight eighth notes and eight sixteenth notes. Explain they can draw flagged or stemmed sixteenth or eighth notes. They must draw six out of eight of each set to show proficiency in this lesson. Explain they must work alone. (Gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal)(Bloom: Comprehension, Application) Closure: Collect the papers from the students. Clap out another rhythm to get their attention back on task. Ask the students if they have any questions about eighth notes and sixteenth notes. Explain that there are even more rhythms than eighth notes, sixteenth notes, quarter notes, and quarter rests. Play "Andale Juana" for the class. Explain that this song has half notes and dotted half notes in it as well as quarter notes. Tell the class they will learn about half notes and dotted half notes tomorrow. (Gardner: MusicallRhythmic, BodilylKinesthetic)

21 AdaptationslEnrichment: Girl with ADHD-Hyperactive: Have the girl take frequent breaks as needed. Also have her come up to the board and write out the different examples of eighth notes and sixteenth notes when volunteers are needed. Self-Reflection: How did the lesson go? Are there aspects that I could do differently next time? Did the students understand the topics taught in this lesson? Was the lesson successful? Did the adaptation seem appropriate? Did any of the lesson need to be taught again for the students to understand it fully?

22 Name: Please circle the eighth notes and sixteenth notes in the following example. Score Tideo Unknown Skip one win-dow ti-de-o. skip two win-dows ti-de-o. Skip three win-dows ti-de-o. Jin -gle at the win - dow ti -de -0; Ti-de-o. ti-de-o. Jin -gle at the win - dow ti -de-a.

23 Name: Practice drawing eighth notes flagged, eighth notes stemmed together, sixteenth notes flagged and sixteenth notes stemmed together. Draw on the stafflines below. Next to the examples given.

24 Printed at WNW.blanksheetmusic.net

25 Please circle the eighth notes and sixteenth notes in the following example. Score Tideo Unknown 1 1 Skip one win-dow ti-de-o. skip two win-dows ti-de-o. Skip three win-dows ti-de-o. Jin -gle at the win - dow ti -de 0: Ti-de-o. ti-de-o, Jin-gle at the win - dow ti-de-o.

26 Name: A~{ V~'-'\ Practice drawing eighth notes flagged, eighth notes stemmed together, sixteenth notes flagged and sixteenth notes stemmed together. Draw on the stafflines below. Next to the examples given.

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28 G. LESSON PLAN MODIFIED FOR ADHD MANCHESTER COLLEGE Department of Education LESSON PLAN by Stephanie Green Lesson: Introduction to Rhythms and Notes (Modified for a student with ADHD) Length: 45 minutes Age or Grade Intended: Third Grade Elementary Music Class Academic Standard(s): Music Notate quarter, eighth, half, dotted half, sixteenth, and whole notes, and quarter, half, and whole rests using iconic or standard notation. Performance Objective(s): 1. Given the piece "High Is Better Than Low", the student will circle the half rests and half notes in the song accurately circling at least fourteen out of the last sixteen measures correctly. 2. Given a blank piece of staff paper, the student will draw eight half notes and eight half rests accurately drawing at least six out of each of the sets. Assessment: 1. The students will be given the piece "High Is Better Than Low". The student will circle the half rests and half notes in the last sixteen measures. The students must accurately circle the half rest and half notes in at least fourteen out of the sixteen measures. '") The students will be given a blank piece of staff paper. The students will draw eight half rests and eight half notes. The students must accurately draw at least six out of the eight notes within each set. Advance Preparation by Teacher: 1. Create examples for the students 10 see what half notes and half rests look like in music. These examples will be written on the board.

29 2. Create a worksheet for the students to practice drawing half notes and half rests. 3. Make copies of the blank staff paper to hand out to the student for their assessment of drawing notes. 4. Make copies of the song "High Is Better Than Low". Procedure: Introduction/Motivation: Read the following passage from Rubber-Band Banjos and a Java Jive Bass: Projects & Activities on the Science ofmusic & Sound by Alex Sabbeth, which is found in the library, to your students: "Music uses a simple method to indicate rhythm. Notes are symbols that show how long a musical sound should last." Clap out several different rhythms after you finish reading this passage. Draw some notes on the board. Ask the students to point out which ones are eighth notes and which ones are sixteenth notes. Explain that there are all the different types of rhythms in music and notes like the sixteenth and eighth notes we learned yesterday. Tell the class that we will learn about half notes and half rests today. (Gardner: MusicallRhythmic, BodilylKinesthetic, VerballLinguistic) Step by Step Plan: 1. Draw a half note on the board. Explain that this is a half note and it receives two beats. Clap two longer claps. Have the class repeat after you. (Gardner: VisuaVSpatial, Musical!Rhythmic, BodilylKinesthetic) 2. Have the students take out their staff paper from the past two days to draw examples of half notes on it. Explain step by step how to draw a half note correctly. Explain the step by step process as you draw a half note on the board and as the students draw a half note on their staff paper. (Gardner: Musical!Rhythmic, VisuaVSpatial) 3. Ask the students to draw several more examples. Walk around the class to make sure they are doing it correctly. (Gardner: Musical!Rhythmic, VisuaVSpatial, Intrapersonal) 4. Draw a half rest on the board. Explain that this is a half rest and it receives two beats just like the half note. Ask the class what is the difference between a rest and a note. Call on a student to answer the question giving at least 5-10 seconds for the students to think about their answer. (Gardner: Musical!Rhythmic, VisuaVSpatial) (Bloom: Knowledge) 5. Ask the students to draw examples of half rests on the staff paper. Explain step by step how to draw a half rest correctly. (Gardner: MusicallRhythmic, VisuaVSpatial, Intrapersonal) 6. Ask the student to draw several more examples of half rests. Walk around the room to make sure that the students are drawing the half rests correctly. (Gardner: Musical!Rhythmic, VisuaVSpatial, Intrapersonal) 7. Ask the students if they have any questions about half rests and half notes. Draw different examples of notes and rests on the board. Ask the students to point out which example has a quarter note or rest, eighth or sixteenth note, and half note and half rest in it. This will call on their past knowledge from the first lesson. (Gardner: MusicallRhythmic, Visual/Spatial) (Bloom: Comprehension, Knowledge, Application)

30 8. After this exercise is finished. ask if the class has any other questions before passing out the materials for the assessment. 9. Erase the board and ask the students to put away their staff paper. 10. Pass out the blank staff paper. Explain to the students that they must draw eight half notes and eight half rests. They must draw six out of each eight correctly to meet the objective. Explain that they must work alone.(gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal) (Bloom: Application) 11. Pass out "High Is Better Than Low". Explain to the students that they must circle the half notes and the half rests in the measures seen on the page. They must circle the half notes and the half rests correctly in fourteen out of the last sixteen measures. Explain that they must work alone. (Gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal) (Bloom: Application) Closure: Collect the papers from the students once everyone is finished. Stomp a rhythm to get the students' attention focused again. Ask if there is anything other questions over half notes and half rests. Repeat the quote from the beginning of class from Rubber-Band Banjos and a Java Jive Bass: Projects & Activities on the Science ofmusic & Sound by Alex Sabbeth to your students: "Music uses a simple method to indicate rhythm. Notes are symbols that show how long a musical sound should last:' Explain that there are more simple rhythms that help to indicate rhythm. Explain that there are dotted half notes, whole notes, and whole rests which they will learn about tomorrow. (Gardner: Musical/Rhythmic, BodilylKinesthetic, VerballLinguistic) AdaptationslEnrichment: Student with ADHD- ill: When clapping out the rhythms of music, have the student stand up and stomp or jump to the rhythm you clapped. Have the student stand and stretch before the assessment to let them burn some energy before they took the assessment. If you need a volunteer, have the student come up so they can burn some energy. Let the student work in groups when they are drawing examples of the half notes and half rests on the staff paper, but they must work alone during the assessment. Self-Reflection: How did this lesson go? What were some changes that could take place to make this lesson more effective next time? Was there enough time planned for the lesson? How did the adaptation work for the student with ADHD-HI?

31 Name: Please circle the half notes and the half rests in the following example. High Is Better Than Low Dietz and Schwartz If your spir-it is bub - bly you'll ",in man-y a friend, Bub - bly's bet-ter than trou - bly. so ree - om - mend_ Sin where-ey - er you go. High is bet-ter than low. You'll be bet-ter if you say it's so. _

32 Name: Practice drawing half notes and half rests. Draw on the staff lines below next to the examples given.

33 Printed at

34 Please circle the half notes and the half rests in the following example. High Is Better Than Low Dietz and Schwartz If your spir-it is bub - bly you'll viin man-y a friend. Bub -bly's bet-ter than trou - bly. so rec - om - mend_ Sin where -ey - er you go. High is bet-ter than low. You'll be beher if you say it's so. _

35 Name: A~[ K. >---\ Practice drawing half notes and half rests. Draw on the staff lines below next to the examples ~_ ~,U,! ~-

36 H. LESSON PLAN MODIFIED FOR LEARNING DISABILITES MANCHESTER COLLEGE Department of Education LESSON PLAN by Stephanie Green Lesson: Introduction to Rhythms and Notes (Modified for a student with a learning disability) Length: 45 minutes Age or Grade Intended: Third Grade Elementary Music Class Academic Standard(s): Music Notate quarter, eighth, half, dotted half, sixteenth, and whole notes, and quarter, half, and whole rests using iconic or standard notation. Performance Objective(s): 1. Given the song "Amen", the student will circle the dotted half notes, whole notes and whole rests in the song circling at least six out of the eight measures correctly. 2. Given a blank sheet of staff paper, the student will draw eight dotted half notes, eight whole notes, and eight whole rests drawing at least six out of each ofthe sets correctly. Assessment: 1. The student will be given the song "Amen". The student will circle the dotted half notes, whole notes, and wholes rests in the song. The student must circle at least six out ofthe eight measures correctly. 2. The student will be given a blank sheet of staff paper. The student will draw eight dotted half notes, eight whole notes, and eight whole rests. The student must draw at least six out of each set of eight correctly. Advance Preparation by Teacher: 1. Create different examples using dotted half notes, whole notes and whole rests as well as past rhythms that they have learned throughout the unit. 2. Make copies of the blank staff paper to pass out for the assessment. 3. Make copies of the song "Amen".

37 Procedure: IntroductionlMotivation: Write several different examples of rhythms on the board. Clap one and ask students where it is example ABCD. After the students answer, clap the rhythm again and have the students repeat after you. Explain that some of the rhythms (half note and half rests) that were just clapped we learned yesterday. Explain that there are three more types of rhythm that they will learn about today. Explain that they are called dotted half notes (draw an example on the board), whole notes (draw an example on the board) and whole rests (draw an example on the board). (Bloom: Comprehension and Application) (Gardner: Musical/Rhythmic, VisuaVSpatial, BodilylKinesthetic) Step by Step Plan: 1. Clap three beats and have the students repeat after you. Point to the example of a dotted half note that you have drawn on the board. Explain that the three beats you just clapped represent the amount of beats that the dotted half note receives. (Gardner: Musical/Rhythmic, VisuaVSpatial, BodilylKinesthetic) 2. Ask the students if they remember how many beats that a half note receives from yesterday's lesson. Explain that a half note receives two beats. Put your finger over the dot of the dotted half note to show that the note receives two beats. (Bloom: Knowledge) (Gardner: Musical/Rhythmic) 3. Point to the dot and explain that the dot represents half of the beats of the big note it is besides. So in this case the dot represents 1 because half of 2 is 1. Explain that when the dot with the half note together equals three. Have the students clap the rhythm with your hand covering the dot. Then uncover the dot and ask the students to clap that rhythm. Ask the students if they have any questions. (Gardner: VisuaVSpatial, Musical/Rhythmic, BodilylKinesthetic) 4. Ask the students to get out their staff paper from the past three days to practice drawing dotted half notes on. Explain that the dotted half note is just like the half note but with a dot behind it. Draw an example on the board for the students to follow. Then walk around making sure that the students are drawing them correctly. (Gardner: VisuaVSpatial, MusicaVRhythmic) 5. Get the student's attention back on task by clapping out a rhythm and having them repeat after you. Clap four beats and have the students repeat after you. Point to the whole note and explain that whole note receives four beats. Clap another four beats and have the students repeat after you to make sure that they understand the concept. (Gardner: VisuaVSpatial, MusicaVRhythmic, BodilylKinesthetic) 6. Have the students draw examples of whole notes on the same staff paper as the dotted half notes. Draw an example on the board explaining how to draw it as you go. Have the students draw several examples on their staff paper and walk around to make sure they are drawing them correctly. (Gardner: VisuaVSpatial, MusicaVRhythmic)

38 Closure: 7. Clap to get your students back on task. Draw a whole rest on the board. Explain that this is a whole rest and it receives the same amount of beats as a whole note but when it is written in music not sound is made.(gardner: VisuaUSpatial, MusicallRhythmic, BodilylKinesthetic) 8. Explain how to draw a whole rest while drawing it on the board. Have your students use the same staff paper as before to draw their whole rests on. Walk around the room to make sure that the students are drawing the rests correctly. (Gardner: VisuaUSpatial, MusicallRhythmic, BodilylKinesthetic) 9. Draw several examples of notes on the board. Clap out the different beats associated with those notes and have the students go up and point to which one is the correct note. Also draw the rests that the students have learned in this unit and have them point to the rests that equal that clapped beat as well. (Bloom: Comprehension, Knowledge)(Gardner: VisuaUSpatial, MusicaURhythmic, BodilylKinesthetic) 10. Pass out the song "Amen". Explain to the students that they must circle the dotted half notes, whole notes and whole rests in the song. Tell the students that they must circle six out of the eight measures correctly. Explain that they must work alone. (Bloom: Application)(Gardner: VisuaUSpatial, MusicaURhythmic, Intrapersonal) 11. Pass out the blank sheet of staff paper. Explain to the students that they must draw eight dotted half notes, eight whole notes and eight whole rests. Tell the students that they must draw six out of each eight correctly. Explain that they must work alone.(bloom: Application)(Gardner: VisuaUSpatial, MusicallRhythmic, Intrapersonal) Collect the papers from the students once they are finished. Write a simple note pattern on the board. Write solfege under the notes. Explain that solfege is a concept in singing music that can help with different pitches. Tell the class that we wi11learn more about solfege and its uses tomorrow. (Gardner: MusicaURhythmic) AdaptationslEnrichment: Student with a Learning Disability: Make sure that the student is sitting by someone who is supportive and can help them understand the concept if they do not get it. Go over the section about the dot with the dotted half note several times to make sure the concept is understood. Also provide examples for the student to see what the dotted half note looks like in music. Teach at a slower pace so the student can have time to understand and comprehend the material. Give the student enough time to answer the question and talk with the student before hand to warn them about when you would ask them a question.

39 Self-Reflection: How did this lesson go? What were some changes that could take place to make this lesson more effective next time? Was there enough time planned for the lesson? Does the concept of rhythms and beats seem to be understood after the four lessons? How did the adaptation work for the student with the learning disability?

40 Name: Please circle the dotted half notes, whole notes, and whole rests in the following example. Amen Afro-American Round

41 Name: Practice drawing dotted half notes, whole notes, and whole rests. Draw on the staff lines below next to the examples.

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43 - Please circle the dotted half notes, whole notes, and whole rests in the following example. Amen Afro-American Round i l ~ ~ ~~'\,e~s~ A - - men. A men. A men. A 7 ~ ~~! J J men. A - men.

44 Practice drawing dotted half notes, whole notes, and whole rests. Draw on the staff lines below next to the examples. '(j~.. == : oa" I I..... Deia~-~1-"-,.!J I) Q()O ti

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46 r I. LESSON PLAN MODIFIED FOR GIFTED AND TALENTED MANCHESTER COLLEGE Department of Education LESSON PLAN by Stephanie Green Lesson: Do, Re Mi: Introduction to Solfege (Modified for a student who is gifted and talented) Length: 45 minutes Age or Grade Intended: Third Grade Elementarv Music Class Academic Standard(s): Music Read and perform expanded pitch patterns and simple songs using solfege and letter names of the treble clef. Performance Objective(s): 1. Given the song "Little Tommy Tinker", the student will write the solfege symbol under each note writing the solfege symbols in at least 6 out of the 8 measures correctly. 2. Given a blank copy of the hand symbols, the student will write the name of the solfege symbol next to the corresponding hand symbol correctly indentifying at least 6 out of the 8 hand symbols. Assessment: 1. The student will be given the song "Little Tommy Tinker". The student must write the solfege symbol under each note. The student must correctly write at least 6 out ofthe eight measures of the song. 2. The student will be given a blank copy of the hand symbols. The student must identify the symbol and write the name next to the symbol. The student must identify at least 6 out of the eight hand symbols correctly. Advance Preparation by Teacher: 1. Make copies of "Little Tommy Tinker" for the assessment. 2. Make copies of the blank hand symbol sheet. 3. Make copies of a hand symbol sheet with the names next to it. 4. Make copies of "Nani Wale Na Hala" and "There Was a Crooked Man" for the students to practice writing solfege symbols under.

47 Procedure: IntroductionlMotivation: Clap a simple rhythm to get the students attention.. Play the song "Do, Re, Mi" from the Sound ofmusic. Write on the board the solfege symbols that are being sung in the song. Play the song again but this time have the students sing the words when you point to them. Explain that music is made up of rhythms like the rhythms we learned in last lesson but music is also made up of notes. Explain that the notes in music have symbols which are solfege symbols which we will learn about in class today. (Gardner: Musical/Rhythmic, Visual/Spatial, Bodily/Kinesthetic) Step by Step Plan: 1. Pass out the hand symbol sheet. Explain that we are going to learn the symbols for solfege as well as the hand signs that go along with it. 2. Hold your hand in a fist. Explain that this is the symbol for Do. Have the class hold a fist in front of the stomach and repeat the word Do. (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial) 3. Explain that Do is the most important note in a song and sometimes the first but not always. Explain that Do also has a friend that is located at the end of the solfege symbols but we will learn about that friend later. Tell the class we will look at song examples later. 4. Hold your hand at a 45 degree angle. Explain that this is the symbol for Re. Re comes after Do. Repeat the symbol for Do then follow it with Re. Ask the class if they remember from the Sound ofmusic song what symbol comes next. Playa small clip to remind them if they do not remember what symbol comes next. (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial) (Bloom: Knowledge) 5. Hold your hand flat in front of your stomach. Explain that this is the symbol Mi. Repeat the symbols Do, Re, Mi several times so the students understand the order. Ask the students if they have any questions before you move on. (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial) 6. Hold the different symbols of solfege that the students have learned so far in front of you. Call on students to answer what the symbol is. (Bloom: Comprehension) (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial) 7. Hold your hand in a fist with your thumb pointing down. Explain that this is the symbol for Fa. Repeat the symbols they have learned so far to make sure that the students are understanding the concepts. (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial) 8. Hold your hand straight in front of you with your thumb pointing to the ceiling. Explain that this is the symbol for Sol or So. Repeat the symbols they have learned so

48 Closure: far to make sure that the students are understanding the symbols. (Gardner: MusicallRhythmic, Visual/Spatial, Bodily/Kinesthetic) 9. Hold your hand cupped in front of you with the underside of your hand pointed to the floor. Explain that this is the symbol for La. Repeat the symbols that they have learned so far. Ask the students ifthey have any questions so far. (Gardner: MusicallRhythmic, Visual/Spatial, Bodily/Kinesthetic) 10. Hold different symbols of solfege in front of you and ask the students what symbol that is. Call on different students than before to answer what the symbol is. (Bloom: Comprehension) 11. Hold your hand in a fist with your pointer finger pointing at a 45 degree angle. Explain that this is the symbol for Ti which comes right before Do, the friend of the first Do. (Gardner: MusicallRhythmic, Bodily/Kinesthetic, Visual/Spatial) 12. Repeat the symbols and ask the students if they have any questions. Write a C major scale on the board with the solfege symbols underneath it. Pass out the practice song sheet to the students. Go over the first song as a class filling in the solfege under the notes. Have the class work on the second song in groups. Walk around to make sure that everyone is understanding the concept. (Gardner: MusicallRhythmic, Visual/Spatial, Interpersonal) (Bloom: Comprehension, Application, Knowledge) 13. Ask the students to put all the materials from today away. Pass out the hand symbol sheet for assessment and the sheet with "Little Tommy Tinker" on it. Explain the instructions for both sheets and that they must work by themselves. (Bloom: Application) (Gardner: MusicallRhythmic, Intrapersonal) Collect the papers and clap a rhythm to get the students' attention again. Play the Sound ofmusic "Do, Re, Mi" and have the students use their hand symbols along with the song. Explain that there are many concepts of music and some ofthat are the dynamics or loud and soft moments in music which we will learn about tomorrow. (Gardner: MusicallRhythmic, Bodily/Kinesthetic) AdaptationslEnrichment: Student that is Gifted and Talented: Have the student be a student peer to help those students who do not understand the concept of solfege. During the song at the beginning of the lesson, have the student demonstrate the solfege symbols as the song is playing. Their leadership skills and confidence can help their peers to understand the concept of solfege plus they can be a huge help to you whenever needed. Self-Reflection: How did this lesson go? What were some changes that could take place to make this lesson more effective next time? Was there enough time planned for the lesson? Do the students seem to understand solfege or will you need to review it more later on? Does the adaptation/emichmenl for the gifted and talented student seem appropriate?

49 One adaptation/enrichment that would be used numerous times throughout this unit would be the student peer assistant. I would have the student help me around the classroom with not helping their peers with certain problems but also to help explain topics with different varieties. I would choose this specific enrichment for two reasons. One reason would be because as a teacher I can try to make it to all the individuals in my classroom but I cannot focus on all my students at once. Using the student who is gifted and talented would help all the students to get their questions answered. Another reason would be because the gifted and talented student could gain confidence from helping their peers. Another adaptation/enrichment would be connecting the gifted and talented student with another organization outside of the classroom. This may not be used as much throughout this unit as the first adaptation. I would contact an organization with talented young musicians or contact the local high school choir. I would see if those organizations or groups would be willing to work with this student. This would help develop the skills of this student to a different level that cannot be achieved in the classroom. The student would be challenged and learning more about their talent in this setting than they would in the regular classroom. Another adaptation/enrichment would be having the student not only assist with other students' questions but other activities as well. During the notes and rhythms lessons, the student could write up different rhythms to help test the students. During later lessons in the unit, the student could help the teacher by playing notes on the piano while the students followed in their music. This would help the teacher because the teacher could focus on helping the students get their notes instead of focusing on the playing ofthe pitches. This would also develop the skills of the4 student because they would be practicing piano by playing pitches allowing them to grow and become more enriched in music.

50 Name: --~ Please write the solfege symbol under the notes of the example below. The first symbol is given. Little Tommy Tinker Do

51 Name: Practice writing in the solfege symbols under the examples below. The first solfege symbol is given in each example. Nani Wale Na Hala There Was a Crooked Man

52 - Name: Fill in the names of the solfege next to the symbol it belongs with. ~ _~~",f! ~-...:...' ~,...., ~ r

53 Name: This is a hand symbol sheet for solfege for your own use. ~ ~ '.. \.'. '> I do' ti fa so fa ~ ml re do

54 Name: Answer kel- Fill in the names of the solfege next to the symbol it belongs with. ~ ~ ~ dot ti g;: ~ so fa ~ mi ~ ~ re do

55 - Please write the solfege symbol under the notes of the example below. The first symbol is given. Little Tommy Tinker j J J J J ij. t uj.ac ~, tj', Re.. ~e... ~ Do

56 Practice writing in the solfege symbols under the examples below. The first solfege symbol is given in each example. Nani Wale Na Hala There Was a Crooked Man. ~o f"- 2> ~...' fa s. 'r-", s.. ;:;,. $c \ ia S<; la, Sc p:, Sc 'I};. 'h 6

57 J. LESSON PLAN MODIFIED FOR BEHAVIORAL DISORDERS MANCHESTER COLLEGE Department of Education LESSON PLAN by Stephanie Green Lesson: Loud and Soft: Dvnamics of Music (Modified for a student with a behavior disorder) Length: 45 minutes Age or Grade Intended: Third Grade Elementarv Music Class Academic Standard(s): Music Identify and explain the dynamic markings forte, mezzo forte, piano, mezzo piano, crescendo and diminuendo (decrescendo). Performance Objective(s): 1. Given an excerpt from Gospel Magntficat, the student will circle the dynamic markings displayed in the soprano line circling at least 5 out of the 6 markings correctly. 2. Given a list, the student will match the terms with their meanings and symbols correctly matching at least 6 out of the 7 terms. Assessment: 1. The student will be given a sheet with an excerpt ofthe soprano line from Gospel Magntficat. The student will circle the dynamic markings in the music. The student must circle at least 5 out of the 6 markings correctly. 2. The student will be given a sheet ofpaper with two lists. One list will be the name ofthe terms and the other list will be the meaning and symbol of the terms. The student will match the terms with their meanings and symbols. The student must match at least 6 out ofthe 7 terms correctly. Advance Preparation by Teacher: 1. Create an assessment with the Gospel Magntficat example on the sheet. 2. Create an assessment with the terms, meanings and symbols on the sheet. 3. Create a worksheet for the students to write out the definitions of the symbol next to the corresponding symbol.