Music Powerpoint Notes FInal

MUS 463 Class Notes1/08/14 Week 1

-Big beats vs. little beats (macrobeats/microbeats)- Movement: Stationary before loco motor - Resting tone: Bummmmm

Pollywaddle Song -Rote Song procedure:1. Listen to song2. Think the song3. Sing without the teacher-Audiate: Thinking and understanding music in your head

Why is music education?a. Why is music education important? Music aptitude Music develops similarly to language (acculturation, imitation, assimilation) Brain Synapses 90% are formed before a childs 1st birthday, born with synapses specifically created for music processingb. What is the purpose of music education? Providing tools for students to be creative Express things that words cant say Reflectivec. Why bother with music? Form of expression Artistic component

Acculturation Gamesa. Flow, acculturation patterns- no response1. Paint the room Harvest (ECC 29)2. Stirring Soup - Dorian Litb. So what did you/we do? (Leading questions describe movement, what did you notice about the songs, anything else you noticed?)1. Flow/Continuous fluid movement2. Songs with no words 3. Tonal pattern vocabulary4. Acculturation/Immersion c. Dinosaur Diet 1. Macrobeats, microbeats, stationary, move to locomotor, RT response.d. So, what did we do? 1. Big/little beats (macrobeats/microbeats)

Outcomes of Elementary Music:a. What should students be able to do musically by the end of elementary school?b. What skills and knowledge should they have?

Music Aptitude Born with this stabilizes at age 9 Music ed helps students achieve their potential Tonal aptitude (tone) Rhythm aptitude (beat) Music develops along the same lines as language

9 National Standards for Music:1. Singing2. Playing instruments3. Improvising4. Composing & Arranging 5. Reading & Notating6. Listening to, analyzing, and describing7. Evaluating 8. Understanding relationships between music, other arts, and other disciplines9. Understanding music in relation to history and culture

(For Next Time): 1. Join Edmodo 2. Readings 3. Assignment

1/15/14 Week 2

History of Music Education Religious singing hymns War related military bands Lowell Mason father of music education Filled with ebbs and flows1992 Goals 2000 Viable assessment based curriculum National standards Creativity Diversity Listening SkillsThree Domains of Teaching Cognitive (intellectual learning) Psychomotor (physical skills) Affective (feeling/emotion) Music education should start ASAPMusic Aptitude vs. Music Achievement Everyone has aptitude Innate not inherited Normally distributed among peopleDevelopmental versus stabilized (age 9)Audiation Means hearing and comprehension of music in ones head Involves a sense of tonal/rhythm syntax Ability to think IN musical sound Prediction Audiation is to music what thought is to language.Sequential Music Learning Music/language parallels Listening, speaking, reading, writing Informal versus formal learning Language developmentMusic Development Music babble Kids move out of babble w/ unstructured and structured play activities Learn what something is based on what it is notTonalities 7 total Major Minor Dorian FrovianWhat Should We Teach? National Standards for Music Education (9 total)5 Elements of Music Expressive Qualities (tempo, dynamics, timbre) Harmony Melody Rhythm FormExpressive Qualities Tempo speed of the beat Flight of the Bumblebee vs. Elephant Hungarian Dance #6 (combination) Mountain King Dynamics volume Can focus on opposites (loud/soft) or gradual change Eye of the Tiger (loud) Gnomes (combined) Timbre sound color or quality Everything thats not the melodyListening Allows children to absorb the music and build music vocabulary Acculturate to music Experience things you cant provide with voice Helps children become critical listenersElements of Good Listening Examples Instrumental (or in another language) Variety of styles Varying dynamics Varying tempos Length: 60-90 seconds for young, 2-3 minutes for olderWhat are kids doing during listening? Passive listening Background music Active listening Listen for specific elements and concepts Movement focused on specific music elements Listening maps to focus attention on elements

1/29/14 Week 3Timbre The combination of qualities of a sound that distinguishes it from other sounds of the same pitch and volume. Everything about a tone that is NOT a pitch (how high or low it is) or volume (how loud or soft it is) How do you know which of these recordings is which?

Elements of Music1. Expressive qualitiesa. Tempob. Dynamicsc. Articulationd. Timbre2. Forma. Phrasesb. AB/ABAc. Call/Responsed. Rondoe. Sections3. Rhythma. Beatb. Beat groupingsc. Long/Short durations4. Melody a. High/low b. Up/down/samec. Steps/skipsd. Major/minor tonality 5. Harmonya. Drones/ostinatosb. Chords

RHYTHMBeat: Beat: Steady pulse of music Can change tempo 2 layers of beat: Macrobeat and Microbeat Children tend to feel microbeat before macrobeat Spider fingers (microbeat) Teach by rote before having students find Discrimination learning vs. inference learningMeter:(Involves the layering of macrobeats/microbeats)(Determined by how the macrobeats are divided) Macros divided into 2s: Duple Meter Macros divided into 3s: Triple Meter Macros divided into 2s and 3s: Combined Meter Uneven Macros: Unusual MeterRhythm Rhythms: long and short durations and the organization of sounds and silences in time Involves time/timing Rhythm patters: rhythmic words Can use rhythm syllables Melodic rhythm: rhythm of the melody (what you sing)

Gordans 3 Layers of Rhythm Top Layer: Melodic RhythmMiddle Layer: MicrobeatsBottom Layer: Macrobeats

Song or Chant?

Songs are sung. Chants are chanted Both songs and chants have rhythm/meter Songs have pitch/tonality, but chants do Not Examples: Noble Duke of York Scrubba DubbaGroup Activity: Creating a Chant Choose a classroom subject or procedure Write a chant with four lines The rhythm must be different in at least one line Type your chant into a slide Perform the chant for the class two times (Once on words, once on bah)

Movement Importance Contributes to physical development (body awareness/coordination) Aids in understanding musical concepts (especially rhythm!) Helps develop musical sensitivity/expression Helps develop creativity/imagination * Movement is different from dance! *

Body Awareness Is my body moving or still? What part(s) of my body is(are) moving? Examples: Go and Stop- awareness of moving or not, ways we can move our bodies Popcorn Macro/micro, isolating body parts

Laban Movement ElementsCreated by Rudolf van Laban (All 4 elements are on a continuum and all relate to each other)

Flow (Free-Bound) Free, fluid, uninterrupted, smooth movement AKA Continuous, fluid movement (CFM) Readiness for beat! (Flow, flow and pulse) Flowing first: keep tempo consistent Example: Give an object a ride on hand/other parts (smooth, circular pathways) Free= relaxed, loose, difficult to stop Example: Swimming Bound= stiff, difficult to keep movingExample: Superhero muscles Both= alternate between Example: Spaghetti noodles uncooked or cookedExample: Swim in oil, peanut butterWeight (Strong-Gentle) Strong = Feel body weight (not just stomping)Example: Big heavy snowball pass around the circle Gentle= floating feeling Example: Eggs on floor walk without breaking! Both Example: Dont crack the eggs! DO crack the eggs!Space Self/Shared Example: Freeze like a statue in self space and shared space Open/Closed shapesExample: BalloonExample: M is for Mary Levels High, Medium, LowExample: Statues in levels Locomotor/Stationary Example: Popcorn Direct/Indirect: Straight, curvy pathwaysTime (Quick-Sustained) Quick: Freeze quickly into a statue Sustained: Slo-mo statues Both: Bubble Gum slow blowing up, then fast pop

(Things to remember)-Less talking is better-Modeling is best-Give clear, concise directions. -Have a signal to end, if needed

2/5/14 Week 4

Early Childhood Music

Why is it important for children to be exposed to music as early as possible? Brain development Music aptitude Music/language learning parallels

How do young children learn music? Preparatory Audiation Stages everyone goes through before achieving audiation Requires proper guidance and sufficient exposure to music Occurs in three stages

3 Stages for Preparatory Audiation-Acculturation-Imitation -Assimilation

Acculturation (Stage 1)(Preparatory audiation stage1) Approximately birth to age 2-4Musical age vs. chronical age Divided into three sub-stages1.Absorption2. Random response3. Purposeful ResponseAbsorption: Sub-stage 1 Kids listen and observe Songs without words/no piano kids tune into the melody Same key/tonality/meter/tempo each time the same song is sung or chanted Lots of vocal inflection Recorded music: dynamic, timbre contrasts but with a consistent tempo

Random Response: Sub-stage 2Moves and babbles in response to, but with no relation to, the music

Purposeful Response: Sub-stage 3 Tonal/Rhythm babble Child has no idea that their response is incorrect Teacher exposes child to tonal/rhythm patterns after songs/chants they will respond more once theyve heard more songs/chants Teacher imitates child response and then performs correct pattern Audiation range: D-A

Imitation (Stage 2)(Preparatory audiation stage 2) Approximately age 2-4 to age 3-5 Divided into two sub-stages1. Shedding Egocentricity 2. Breaking the Code

Shedding Egocentricity (Sub-Stage 1) Audiation stare

Breaking the Code (Sub-Stage 2) Child imitates with some precision, just not consistently

Assimilation (Stage 3)(Preparatory audiation stage 3)Approximately age 3-5 to age 4-6Divided into two sub-stages 1. Introspection2. Coordination

Introspection (Sub-stage 1) Child recognizes a lack of coordination between their performance and the teachers Usually is missing the breath

Coordination (Sub-stage 3) Child coordinates singing and chanting with breath/movement

Sample Early Childhood ActivitiesCan you tell what the purpose of each activity is? Hello Song Move and Stop Charlie the Fish Valentine Haul Away Joe Stretch and Bounce Ocean Waves Stirring my Brew Echo mic Hickety Pickety Bumblebee Pennsylvania Dreamin, Snowflake, Firecracker - scarves

Early Childhood Classroom Environment Informal guidance vs. formal instruction Menu of activities No expectations of specific child responses Very little talking! Pattern instructionTonal and rhythm

2/12/14 Week 5

Music BabbleMusic Babble Informal Child teachers him/herself Responds to the tonal/rhythm syntax of music A person is in music babble until he/she can sing in tune or mover with consistent tempo. Two Dimensions:1.Tonal2. Rhythm (Not related to each other)

Tonal Babble One prevalent pitch Different pitch for different songs Expands from monotone to patterns in songs Out of tonal babble when child sings familiar and unfamiliar songs in tune

Rhythm Babble Movements unrelated to music Patterns emerge that are consistent but still dont relate to the music Movement patterns become consistent = consistent tempo Out of rhythm babble when child moves consistently with the beat of the music and performs rhythms correctly

Aural/Oral Aural= Listening vocabulary Oral= Singing/chanting vocabulary Basis of audiation Enhanced by informal music activities Varied activities

Early Childhood Curriculum ECCSong Instruction Coordination/movement instructionChant instructionTonal pattern instruction Rhythm pattern InstructionListening

Song Instruction Establish Tonality Always sing in same key, tonality, meter, and tempoMovement Instruction Bilateral arms/legs Alternating arms/legs Stationary before locomotor

Chant Instruction Establish Meter Consistent meter and tempo every time

Pattern Instruction Tonal patterns Rhythm patterns Informal = do not expect a response

Listening Instrumental Variety of styles Changes in timbre Contrasting dynamic sections Unusual tonalities/meters

MelodyMelody Succession of pitches that make up the tune of a song Has different aspects

Aspects of Melody Contour High/Low Up/Down/Same Skips/Steps/leaps/repeats Tonality Major/minor/others Relationships around a pitch center Gives tonal flavor Solfege as a tool; happy/Sad as a hint Scales= series of half/whole steps Half step from key to key (NO keys in between)

Singing Voice DevelopmentWhy is singing voice development important? Roots of music education in U.S. are signing Singing teachers students to use the instrument they already have and can take anywhere

Mechanics of the Voice Posture is important Breathing is essential Tension is bad Audition is necessary Learning to sing depends on: Developing audiation Finding your singing voice

Finding Singing Voice Sirens Owl Hoots Train Whistle Slides/rollercoaster Different ways of using voice This is my ________ voice

Presenting a good vocal model Demonstrate good posture Do NOT use vibrato Sing in an appropriate range for children! Men: sing in your range (octave lower), but give children their starting pitch Sing TO children, not With children Give opportunities for children to sing alone

Stages of Elementary Singing DevelopmentStages K-1st grade vocal range: D-A (above middle C)2nd-3rd grade vocal range: B (below middle C) to D (above high C)4th-5th grade vocal range: A (below middle C) to F (above high C)

Choosing Appropriate Music for Singing Correct range (look at the notes) Does the melody jump around? Preferably without words Folk songs are very appropriate

2/19/14 Week 6

Musical Element 4: FORM Form How music is organized The structure of music Required listening for chunks, repetition Can be on a small or large scale

Form: Call and Response Alternates between one person/ group doing a part and another person/ group answering back Contrasting call and response The call changes, but the response stays the same every time Example: Old John the Rabbit Example: Skin and Bones Identical call and response Call and response are the same Example: Che Che Kule

Form: Phrase Musical thought/musical sentence Example: My Pony Bill Stretch and Bounce

Form: Sections Larger scale Using letters to label/represent large sections

Form: AB (Binary) Rig a Jig Jig Match during A, Sway during B Song of the Pirates Sneak (tiptoe on macros) during A, Freeze during B

Form: ABA (Ternary) Hello, Hello, Hello, Hello Macro for A, Micro for B Old Joe Clark Beat for A, CFM for B Dance of the Sugar Plum Fairy (Can you think of an image-based movement activity that might exemplify the section changes in this piece?)

Form: Rondo One section recurs, alternating with different sections between (ABACA) Viennese Musical Clock Activity There Was an Old Lady Who Swallowed a Chick.

Form: Theme and Variation Main theme presented and then is manipulated in various ways (changing tempo, rhythm, meter, tonality, range, timbre, etc.) Love Somebody- create variations by replacing D-M-S with other patterns Twelve Variations in C by Mozart

ROTE SONG/CHANTRote Song Procedure Exact Steps (Pure) Give yourself the starting pitch and sing on a neutral syllable (bum) Move to Macrobeat heels or sway Move to Microbeat spider fingers Simultaneous macro/micro Pause and sing resting tone during song Tell students they will hear song once more, then will audiate. Give yourself starting pitch and sing the song. Give vocal cue; students will audiate song, touching chin when done. Give vocal cue, then preparatory gesture/breath. Students sing the song. Assess the students performance and remediate if necessary

Rote Song Procedure Exact Steps (Modified) Students listen for or demonstrate something specific in the song. Give yourself the starting pitch and sing the song. Students listen for or demonstrate something else. Give yourself the starting pitch and sing the song. Repeat step 2 as necessary, depending on difficulty of the song. Tell students they will hear song once more, then will audiate. Give yourself starting pitch and sing the song. Give vocal cue; students audiate song, touching chin when done. Give vocal cue, then preparatory gesture/breath. Students sing the song Assess the students performance and remediate if necessary

Rote Chant Procedure Perform the chant Move to Macrobeat Heels or sway Move to Microbeat spider fingers Simultaneous Macro/micros Students figure out meter Simultaneous Macro/micros once more Tell students they will hear chant once more, then will audiate. Perform the chant. Give vocal cue; students audiate chant, touching chin when done. Give vocal cue, then preparatory gesture/breath. Students sing chant Assess the students performance and remediate if necessary

*Important Information* The point is. Prepare the students for their job Vocal Cue Preparatory gesture/breath Lets try it

Things for students to do while listening Macrobeat/microbeat Meter Tonality Resting Tone Singing/keeping beat, moving Lyrics Use your imagination

3/12/14 Week 9

Musical Element 5: HarmonyHarmony Different pitches sounding at the same time Unison (melody) vs. Harmony Rounds are NOT a good place to start! Need to first develop a sense of harmonic underpinnings

Harmony: Resting Tone Exposure (sing So-Do, leave out last pitch of song, sing directions on resting tone, play resting tone on instruments) Beanbag drop and sing resting tone Resting tone button resting tone drone Ingredients in soup resting tone exploration Dinosaur Diet = pass beanbag, sing resting tone in solo

Harmony: Ostinato Resting tone ostinato (Sally Go Round the Sun) Tonic/Dominant (Do-So) ostinato (My Pony Bill) Melodic ostinato (Are You Sleeping? Ding ding dong, Are yyou Sleeping?)

Harmony: Chord Roots and Chord Tones Also called the bassline Provides basic sense of harmonic underpinnings Neutral syllable first (Rig and Jig Jig) Expand chord roots to full chords (Chord tones)

Partner Songs Songs with same chord root structure/same harmonic underpinnings Skip to My Lou/Bow Belinda This Train / Oh when the Saints

Rounds Singing the same song but starting at different times Works only with songs that have the same pattern of chord roots for each phrase Are you Sleeping? Skip to My Lou?

Classroom InstrumentsUnpitched Percussion Examples: Rhythm sticks, egg shakers, drums, maracas, triangles, sand blocks, etc. Ask yourself if this instrument only plays rhythms? If so, its UNPITCHED

How Can Instruments be Used?1. Exploratory Play2. Practice Specific Concepts 3. Express a story/ poetic ideas4. Creating (improvising/composing)

Exploratory Play Chance to see, touch, and hear the sounds of instruments, connect look/feel to sound Exposure to timbreSpecific Concepts Body/voice BEFORE instruments Instrument extension of audiation Beat: Clackety Clack rhythm sticks Ostinato: Clackety Clack rhythm sticksExpress story/poetic ideas Pete the CatCreating Canoe Song improvise rhythms on drums between song repetitions, pass to the next person during the song.

Pitched Instruments Examples: Xylophones, glockenspiels, Bookwhackers, recorders, ukuleles, etc. Ask yourself can this instrument play a harmony or a melody? If so, then its pitched.Exploratory Play Twinkle Twinkle make Star SoundsSpecific Concepts Remember: Body/Voice BEFORE instruments Beat: Sally Go Round the Sun Ostinato: My Pony Bill parallel/alternating Patterns: Love Somebody play D-M-S Chord Roots/ chord tones: Rig a Jig Jig BoomwhackersExpress story/poetic ideas Itsy Bitsy Spider (Sound effects after each phrase) Little Red Hen Listen to how many characters you hear Listen for the order of events Choose instruments for characters Create a pattern for each character Re-tell the story with instrumentsCreating Improvising patterns- Love Somebody Improvise new tonic pattern and use in song Creating a melody Echoing melodic patterns Creating answers to question phrases Creating question phrases Pairs take turns with questions and answers Can you replicate/do it the same way each time?

3/19/14 Week 10

Music and Special Learners Special Education Law Idea: Individuals with disabilities Education Act (1990) Students deserve the least restrictive environment IEP: Individualized Education Program Team that includes parents, classroom teacher, sometimes specialists Unique plan to meet individual students needs

Music and Special Learners Inclusion/Mainstreaming Accommodations vs. Modifications Accommodations: when a child is capable of the same work but needs more time, different modes of responding, different format, etc. Modifications: A change in the standard for participation or for success; a difference in the educational goals for a student

Helping Students with.Cognitive Impairments Attention: state goals clearly, use precise language with concrete examples, one task at a time Memory: repetition, keep patterns short, break down tasks into steps, visual cues Organization of Ideas/Abstract: teach by rote (not note), use iconic or created notation Mental vs. Chronological age: Work with a buddy, dont baby down Learning Disabilities For students specifically with auditory processing problems: Multiple opportunities for repetition Pair with visual cues Pair with movement cuesVisual Impairments Preferred seating Tactile examples/manipulatives Enlarged visuals/notation Movement- might do with extra personal space, or with a buddyHearing Impairments Wear the microphone! Preferred seating VisualsPhysical Impairments Modifications to musical instruments Mallet and recorder adaptations Modifications to the activityAutism Spectrum Disorder Visuals Be aware of volume levels and timbres Pair with a buddy Provide opportunities but dont force (physical interactions, vocalizations, etc.)Gifted and Talented label May not mean gifted and talented in music! Opportunities to play more challenging parts Opportunities to compose or improvise Individual projects Student leaders

AssessmentAssessment in Music Education Authentic Assessment Must measure a particular musical behavior/skill Requires actual performance in an authentic setting Standards-based Part of every day class Turns in games

Two Types of Assessment in Music Education1. Continuous Rating Scale 4 exceeds expectations, 3 meets expectations, 2 working towards expectations, 1 has a long way to go Can be a 3-5 ratings long 2. Additive Rating Scale A list of qualities that are or are not present at the time of performance Ex. Recorder performance

Assessment in Music Education Games Hiding Scarves Button You Must Wander Puppet patterns Deal or No Deal

3/26/14 Week 11

Approaches in Music EducationFour Main Methodologies1. Dalcroze2. Kodaly3. Orff-Schulwerk4. Music Learning Theory

Dalcroze Approach- Created by Jacques Dalcroze (1865-1950)- Centered on internalizing musical concepts through physical experience- 3 Branches1. Eurhymics: based on experience of rhythm/dynamics through body movement. Ex. Walking, running, skating 2. Solfege: fixed DO system (The goal is absolute pitch3. Improvisation (teacher at the piano) so that the teacher can follow/lead students movements

Kodaly Approach Created by Zoltan Kodaly (1882-1967) Emphasis on national heritage (folk songs) Vocal approach to music literacy So-Fa Teaching Stresses skills of music reading/writing Solfege: Movable Do Progression of pitches learned (so-mi, +do,) Use of hand signs to reinforce pitch relationships Rhythm syllables: Tas Ti-Tis

Orff Approach Created by Carl Orff (1895-1982) Elemental Music music, movement, and speech are inseparable! Progression: speech, rhythm/chant, song Childrens musical development parallels growth of music history: rhythm, melody, harmony Concepts introduced as speech patterns and then studied in musical contextCharacteristics of Orffs philosophy Speech patterns Elemental music- chants/calls, then pitches introduced one by one Pentatonic first (5 pitches that dont clash) Instruments (xylophones!!) Ostinato patterns and borduns as accompaniment Emphasis on improvisation (of a certain KIND)

Music Learning Theory Created by Edwin Gordon Main goal = developing audition Importance of sequential learning Pattern instruction Movable DO/LA- based minor Rhythm syllables: based on beat function Variety of tonalities/meters Importance of movement (Laban) Individualization of instruction (aptitude, pattern instruction)

4/2/14 Week 12Integrating With Other SubjectsArts Integration: Howard Gardner: Multiple Intelligences Verbal/linguistic (word smart) Logical/mathematical (numbersmart) Visual/spatial (picture smart) Musical/rhythmic (music smart) Bodily/kinesthetic (body smart) Interpersonal (person smart) Intrapersonal (self smart) Naturalist (nature smart) Existentialist (spirituality smart

(VISUAL)

Arts IntegrationThink about it in two different ways(Instructional goals need to be established for both music and other subjects.)(Music should be more than just a tool for learning other subjects. A valid integrative experience should deepen the understanding of music as well as that of the other disciplines involved.

TWO APPROACHES IN INTEGRATION1. Thematic approach- focuses on theme/topic (surface level of one over more) 2. Parallel Concepts approach focuses on common conceptsStrength: Science how you do vibrations of sound, better understand for example the frequency of sound and the guitar.Weakness: more challenging 2s*What do you think are the strengths and weaknesses of each approach?

INTERGRATING MUSIC AND CHILDRENS LITERATURE

Books that are songs1. Down By The Station2. The Crabfish3. She be Comin Round the MountainSong Books 1. Frog Went a-Courtin2. Wee Sing: Childrens Songs and FingerplayBooks in which the importance of music is the theme1. Imanis Music Books about composers, pieces of music, or musicians 1. Composers books2. The Carnival of the Animals3. Childrens Book of MusicBooks about instruments or other musical concepts1. Mis for Melody2. Zin, Zin, Zin! A Violin!3. Tubby the TubaBooks with a natural rhythm (with strong patterns or rhythmic sense)1. The Remarkable Farkle McBride2. Others when we walk about chantBooks in which aspects of music are included but not the focus1. The Jazz Fly2. Abiyoyo3. Freddie Frog and the Flying Jazz Kitten4. Theo and the Blue NoteBooks not directly connected to music but associate with musical pieces of ideas1. Peter and the WolfBooks that could use instruments to tell a story 1. The Little Old Lady Who Wasnt Afraid of Anything 2. Pete the Cat

THE POWER OF CHANT Why use chant? To improve oral fluency and reading comprehension Similarities between language arts and chant? Timing- rhythm Pacing tempo Flow of Language beat/meters Ways of using childrens literature to intergrate chant: Book with text as an existing chant Book with text that alternates between stanza and refrain Modifying a text to create chants Teacher modifies Student modifies

The Power of ChantChanting with existing text (Ex- Brown Bear, Brown Bear)1. Model the beat and ask students to follow you.2. Chant the entire book so the flow is uninterrupted. (Where to keep the book?)3. Cue the students so they know when to begin. (Ex- 1,2, ready, go!)4. Practice the book until all students can follow along with the words.5. Possible extensions:- Identify animal names/color, pick out nouns/verbs etc. 6. Other Examples: I Went Walking, Sing-Song SidAlternating between stanza and refrain (Ex. The Pout Pout Fish)1. Teach refrain2. Create movement to show beat that goes with the text3. Cue the students4. Allow students to practice their part without the book5. Add the book!6. Other examples: Were Sailing the Galapagos, Shake dem Halloween Bones

Modifying Texts to Create Chant (Ex- Barn Dance)1. Read story2. Create a class chant:1. Select the text you want to use; write on board2. Identify number of phrases and beats per phrase3. Add or subtract words4. Decide which words will get emphasis5. How will students perform? (unison, echo, call & response)6. When will this occur in the story? (Once, at certain points, after every page?)

4/16/14 Week 14Integrating Music Integrating Movement with the Early Childhood Curriculum Uses four basic elements (of dance) Body Energy Space Time Life Cycle of a Plant Musically Moving Math Music Math Cards Exploring one-to-one correspondence, external and internal counting Exploring simple addition number sentences Exploring patterns Musically Moving Math Multiplication Line Dance Steady Beat Multiplication Maze Musically Moving Math Shapes and Angles Line: horizontal, vertical, diagonal Angles: right, acute, obtuse Two-dimensional shapes Three-dimensional shapes Integrating Science and Dance Action word warm-up Simple machines