Exploring Plane Figures Through Music Composition 2-3

EXPLORING PLANE FIGURES THROUGH MUSIC COMPOSITION

EXPLORING PLANE FIGURES THROUGH MUSIC COMPOSITION

Learning Description

In this lesson, students will compose speeches to demonstrate their understanding of plane figures and perform them using body percussion in rondo form as whole-class composition.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: MUSIC & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create and accurately perform an original speech composition about a plane figure and perform it in rondo form.
  • I can create and accurately perform a body percussion ostinato.

Essential Questions

  • How can music composition help us understand mathematical concepts?
  • What is rondo form in music?

 

Georgia Standards

Curriculum Standards

Grade 2:

Math

2.GSR.7: Draw and partition shapes and other objects with specific attributes and conduct observations of everyday items and structures to identify how shapes exist in the world.

2.GSR.7.1 Describe, compare and sort 2-D shapes including polygons, triangles, quadrilaterals, pentagons, hexagons, and 3-D shapes including rectangular prisms and cones, given a set of attributes.

 

ELA

ELAGSE2W2 Write informative/explanatory texts in which they introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section.

 

Grade 3:

Math

3.GSR.6: Identify the attributes of polygons, including parallel segments, perpendicular segments, right angles, and symmetry.

3.GSR.6.1 Identify perpendicular line segments, parallel line segments, and right angles, identify these in polygons, and solve problems involving parallel line segments, perpendicular line segments, and right angles.

 

ELA

ELAGSE3W2 Write informative/explanatory texts to examine a topic and convey ideas and information clearly. 

  1. Introduce a topic and group related information together; include illustrations when useful to aiding comprehension. 
  2. Develop the topic with facts, definitions, and details. 
  3. Use linking words and phrases (e.g., also, another, and, more, but) to connect ideas within categories of information. 
  4. Provide a concluding statement or section.

Arts Standards

Grade 2:

ESGM2.PR.1b. Echo simple singing and speech patterns.

ESGM2.PR.2b. Perform steady beat and simple rhythmic patterns with appropriate technique using body percussion and classroom instruments.

ESGM2.RE.1 Listen to, analyze, and describe music.

 

Grade 3:

ESGM3.PR.1b. Echo simple singing and speech patterns and perform call and response songs.

ESGM3.PR.2b. Perform steady beat and simple rhythmic patterns with appropriate technique using body percussion and classroom instruments.

ESGM3.RE.1 Listen to, analyze, and describe music.

 

 

South Carolina Standards

Curriculum Standards

Grade 2:

Math

2.G.1 Identify triangles, quadrilaterals, hexagons, and cubes. Recognize and draw shapes having specified attributes, such as a given number of angles or a given number of equal faces.

 

ELA

WRITING - Meaning, Context, and Craft

Standard 2: Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

2.1 Explore print and multimedia sources to write informative/explanatory texts that introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section.

 

Grade 3:

Math

3.G.1 Understand that shapes in different categories (e.g., rhombus, rectangle, square, and other 4-sided shapes) may share attributes (e.g., 4-sided figures) and the shared attributes can define a larger category (e.g., quadrilateral). Recognize rhombuses, rectangles, and squares as examples of quadrilaterals, and draw examples of quadrilaterals that do not belong to any of these subcategories.

 

ELA

WRITING - Meaning, Context, and Craft

Standard 2: Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

2.1 Write informative/explanatory texts that: 

  1. introduce a topic clearly; 
  2. use relevant information from multiple print and multimedia sources; 
  3. provide a general observation and focus; 
  4. group related information logically; 
  5. develop the topic with facts, definitions, concrete details, quotations, or other information and examples related to the topic; k. use precise language and domain-specific vocabulary to inform or explain the topic

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 3: I can sing alone and with others.

Anchor Standard 6: I can analyze music.

 

Key Vocabulary

Content Vocabulary

  • Plane figure - A flat, closed figure that is in a plane; may be composed of straight lines, curved lines, or both 
  • Vertices - A vertex (plural: vertices) is a point where two or more lines, edges, or rays meet
  • Polygon - A geometric shape that has more than two sides

 

Arts Vocabulary

  • Rondo - A form of composition in which the first section recurs throughout the piece, alternating with different sections (e.g., A-B-A-C-A, etc.); found especially in compositions of the Baroque and Classical eras
  • Ostinato - A repeated pattern (plural: ostinati)
  • Body Percussion - Sounds produced by striking or scraping parts of the body; typically includes snapping, clapping, patting, and stamping
  • Phrase - Musical sentence or unit, commonly a  passage of four or eight measures; a dependent division of music, much like a single line of poetry in that it does not have a sense of completion in itself

 

Materials

  • Plane figure cards (individual cards with one figure on each) 
  • Large paper and markers 
  • Visual of four 8-beat phrases
  • Visual of text for section A of the rondo to be displayed after chant is learned
  • Sound source (iPod, iPhone, computer, speakers, etc.) 
  • Recording of musical composition in rondo form (or create your own using found sounds or body percussion)

 

Instructional Design

Opening/Activating Strategy

  • Perform two sounds, some of which are the same (e.g., clap-clap) and some of which are different (e.g., tap-clap). 
  • Have students identify what they hear as the same or different. 
    • Explain that students will be focusing on hearing parts that are the same and parts that are different.
  • Play a musical composition in rondo form, challenging students to listen for repeated sections. 
    • To help students hear the same and different sections, you may want to have them keep the beat one place for the A sections, a different place for the B section, and a different place for the C section (e.g., A = pat legs, B = clap, C = tap shoulders).
  • Identify the form heard in composition as rondo form. Use letters to help students understand the same and different sections (e.g., A B A C A). Explain that students will now become composers of their own piece to illustrate rondo form.

 

Work Session

  • Have students establish a simple 2- or 4-beat body percussion ostinato (e.g., pat-clap or pat-clap-clap-clap). 
  • While students perform the body percussion ostinato, teach the following chant by rote (teacher speaks, students echo). You may also want to have a visual displayed to aid reading. 

 

Plane figures are around us everyday. 

Just count the sides and angles to see what’s on display. 

Vertices and angle size, they’re important too, 

So let’s gather ‘round and see what you can do! 

 

  • To facilitate student success in learning the chant aurally, begin by speaking the entire chant, then speak the first phrase (first 8 beats) and have students echo. 
  • Continue speaking each phrase and having students echo. 
  • Then combine two phrases (16 beats) and have students echo. 
  • Once students are comfortable with 8- and 16-beat phrases, speak the entire chant. 
    • This becomes the A section of the class composition. 

*Teacher note: If maintaining the body percussion ostinato while saying the chant is too difficult, have one group perform the ostinato while the other group speaks.

  • Analyze the structure of the chant (32 beats long with the last word on the last beat 7). A visual such as follows may be helpful in guiding students’ analysis. 

  • To help students understand the chant’s length and structure, point to each number while speaking the chant. 
  • Analyze the rhyme scheme of the chant, marking on the visual of the chant to          facilitate understanding. 
    • Teachers may want to use one color marker for “everyday” and “display” and a different color marker for “too” and “do.”
  • Divide students into small groups. Give each group a card with a plane figure on it. 
    • Have students create a chant about their plane figure (rectangle, triangle, square, trapezoid, quadrilateral, hexagon, etc.). 
      • Their chant should be the same length and use the same rhyme scheme as the A section (e.g., 4 phrases of 8 beats each; rhyming words at the end of phrases 1 and 2; different rhyming words at the end of phrases 3 and 4).
      • Have ample space in the room so student groups can move far enough apart during the creating process to enable careful listening and minimize distraction from other groups. 
      • Have students write their chants (text only) on large paper. Writing their composition in 4 lines may facilitate understanding of the 4 phrases. 
    • Combine compositions with the original chant to create a rondo form. The original chant is the A section while the student creations become the alternating sections.

 

Closing Reflection

  • Have students find a “rondo” pattern in the classroom (e.g., poster - wall - poster - window - poster = A B A C A). 
  • Have students describe rondo form in their own words. 
  • Challenge students to find other examples of rondo form in music.

 

 

Assessments

Formative

Teachers will assess students’ learning by observing students’ engagement and participation while the class identifies the same and different sections of music, performs a body percussion ostinato to accompany speech, identifies the rhyme scheme of a chant, and creates sentences and say them over 8 beats.

 

Summative

CHECKLIST

  • Students can create and accurately perform an original speech composition about a plane figure using the prescribed form. 
  • Students can create and accurately perform a body percussion ostinato to accompany the speech composition.

 

 

Differentiation

Acceleration: 

  • Have students record their creations. 
  • Have students create additional sections about different plane figures.
  • Challenge students to create and notate simple melodies for their text. 
  • Have students listen to music in rondo form to discern the different sections. 
  • Have students transfer their spoken text to body percussion (e.g., clap the rhythm of the words rather than speaking the words).
  • Experiment with and discuss various textures in music. For example, have half the students maintain the ostinato while the other group performs their chant on body percussion; then have only the chant performed on body percussion. Discuss what happens to the texture as other parts are added or deleted.
  • To connect to dance, have students create movement compositions to share while they say their chant.

Remediation: 

    • Rather than creating a rondo, have students work together to create one section about a plane figure. The form then becomes A B A (with the A section being the chant initially presented and the B section being the newly created chant).
    • If writing a 32-beat chant is too challenging, use the first half of the chant as the A section, thereby making the chant 16 beats long. Alternating sections then will be 16 beats long (rather than 32 beats).  
    • If keeping the body percussion ostinato on two levels (pat-clap) is challenging, have students keep the beat on one level (e.g., pat legs).

ADDITIONAL RESOURCES

  • Websites such as rhymezone.com may be helpful in finding rhyming words.
  • Short pieces in rondo form include “Fossils” by Camille Saint-Saens (ABACA), “La Raspa” (ABACADA), “Für Elise” by Ludwig van Beethoven (ABACA), “Rondo alla Turca” by Wolfgang Amadeus Mozart, and “The Entertainer” by Scott Joplin (Introduction ABACA).
  • YouTube includes recordings of music that also show the rondo form.
  • Rondo Form video 

 

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by and updated by: Maribeth Yoder-White 

Revised and copyright:  June 2024 @ ArtsNOW

Famous African Americans and Visual Art 2-3

FAMOUS AFRICAN AMERICANS AND VISUAL ART

FAMOUS AFRICAN AMERICANS AND VISUAL ART

Learning Description

Explore the artist Jacob Lawrence and learn about his bold artistic style while studying the life of the famous American, Dr. Martin Luther King, Jr.*. Document history by creating a series of paintings to illustrate the struggles and triumphs of Dr. King just as Jacob Lawrence documented the important events in African American history.

*This lesson can also be adapted to teach about the life of other important African American figures.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: Visual Arts, Social Studies & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify important events in Dr. Martin Luther King, Jr.’s life.
  • I can visually represent important events in Dr. Martin Luther King, Jr.’s life using the style of Jacob Lawrence. 
  • I can describe the style of Jacob Lawrence’s artwork.

Essential Questions

  • How can you use Jacob Lawrence’s style of painting to document the lives of historical figures?
  • Who is Dr. Martin Luther King, Jr. and what are important events in his life?

 

Georgia Standards

Curriculum Standards

Grade 2:

Social Studies

SS2H1 Describe the lives and contributions of historical figures in Georgia history. 

  1. Martin Luther King, Jr. (civil rights)

 

ELA

ELAGSE2W2 Write informative/explanatory texts in which they introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section.

Arts Standards

Grade 2:

VA2MC.3: Selects and uses subject matter, symbols, and/or ideas to communicate meaning.  

VA2CU.2: Views and discusses selected artworks.  

VA2PR.2: Understands and applies media, techniques, and processes of two-dimensional works of art (e.g., drawing, painting, printmaking, mixed media) using tools and materials in a safe and appropriate manner to develop skills.  

VA2C.1: Applies information from other disciplines to enhance the understanding and production of artworks. 

 

South Carolina Standards

Curriculum Standards

Grade 2:

Social Studies

Standard 1: Utilize the college and career skills of a historian to study the continuity and changes over time in the United States.

2.H.1 Identify and compare significant historical events, moments, and symbols in U.S. history.

 

ELA

WRITING - Fundamentals of Writing

Standard 2: Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

2.1 Explore print and multimedia sources to write informative/explanatory texts that introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section.

Arts Standards

Anchor Standard 1: I can use the elements and principles of art to create artwork.

Anchor Standard 2: I can use different materials, techniques, and processes to make art.

 

Key Vocabulary

Content Vocabulary

  • Narrative - A story or sequence of events and experiences
  • Dr. Martin Luther King, Jr. - A prominent American civil rights leader, clergyman, and social activist who played a key role in the American civil rights movement

Arts Vocabulary

  • Line - One of the seven Elements of Art; a mark made by a pointed tool such as a brush, pen or stick; a moving point

 

  • Shape - One of the seven Elements of Art; it is a flat, enclosed area that has two dimensions, length and width; artists use both geometric and organic shapes
  • Color - One of the seven Elements of Art; it is created by light; there are three properties of color: Hue (name), Value (shades and tints), and Intensity (brightness)
  • Primary Colors - A hue from which all other colors can be mixed: red, yellow, and blue

 

  • Secondary Colors - A hue mixed from two primary colors, such as orange, green, and purple
  • Neutral Colors - Black, white, gray, brown

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Display one of Jacob Lawrence’s paintings on the board. 
  • Without giving students any information about the artwork, ask students to write a short description of what they think is going on in the painting. 
    • Students should explain what they see in the image that helped them come to this conclusion.
    • Allow students time to share with a partner.
    • Ask a few students to share their ideas with the class.
  • Tell students the name of the artist, name of the painting, and a description of what is going on. 
    • Ask students how their interpretations are similar or different to the actual description of the painting.

 

Work Session

  • Tell students that they will be painting in the style of Jacob Lawrence in this lesson.
    • Lawrence is among the best-known twentieth century African American painters. 
    • Lawrence concentrated on depicting the history and struggles of African Americans.  
    • Lawrence used tempera paints. 
    • Direct students’ attention toward Lawrence’s use of vivid color, expressive style, flat shapes, use of entire space, and the series format to convey a story. 
    • Optional: 
      • Ask students to take turns coming up to the board and outlining the major shapes in different paintings.
      • Provide printed copies of one of the paintings; have students outline the major shapes in the painting.
    • Ask students how the description and the painting are connected just as an illustration in a book is connected to the text on the page.
  • Tell students they are going to become artists like Jacob Lawrence. As a class, they will create a series of paintings that depict the life of Dr, Martin Luther King, Jr. 
    • Use a graphic organizer to sequence the important events in his life. 
    • Next, instruct the students to do a simple sketch or illustration of each event.
    • Instruct the students to use pencil to make a sketch of their assigned event before painting. 
    • Remind students to:
      • Introduce their topic (the event) at the beginning of the paragraph 
      • Use facts and definitions that they learned from the lesson to inform the reader about the event
      • Describe how they showed those facts in their painting
      • Include a conclusion sentence
    • Read a biography of Dr. Martin Luther King, Jr., and discuss the life of Dr. King with the class. 
    • Arrange students into groups of two to three students. Assign each group an event in Dr. King’s life. 
    • Students will create a painting of the event in the style of Jacob Lawrence (remind students of Lawrence’s use of vivid color, line and geometric shape). 
    • After students finish painting, they will write a description of their painting on an index card describing what part of Dr. King’s life is pictured. 
  • Have students arrange the paintings in chronological order.
  • Display the paintings as a series that illustrates the life of Dr. King.   

Classroom Tips: Cover students’ work area with butcher paper. Have students share paint and water supply on their work area. Fill 2 buckets with water--empty one by filling student water cups 1/3 full, then use it to dump dirty water in; the second bucket will be your fresh water supply as needed. 

 

Closing Reflection

  • Allow students time to engage in a gallery walk to view all of the artworks. 
  • Facilitate a class discussion around how each group portrayed the event in the style of Jacob Lawrence.

 

Assessments

Formative

Teachers will assess students’ understanding by observing students’ discussion of the style of Jacob Lawrence’s work and students’ identification and visual depiction of important events in Dr. King’s life.

 

Summative

CHECKLIST

  • Students can identify important events in Dr. Martin Luther King, Jr.’s life.
  • Students can visually represent important events in Dr. Martin Luther King, Jr.’s life through painting using the style of Jacob Lawrence.
  • Students can accurately describe and write about an event in Dr. Martin Luther King, Jr.’s life using relevant details through a well-organized paragraph.

 

Differentiation

Acceleration:

After reading the biography, students will research other events in the life of Dr. Martin Luther King, Jr. using internet or library resources. Students will pick one event in his life to depict through a picture in the style of Jacob Lawrence. Once each student has created a picture, the student will write a paragraph describing the picture and the event. They will work together to create a chronological/numeric timeline to represent the events in the life of Dr. King.

Remediation:

ESOL Modifications and Adaptations: To prepare the ESOL students for the painting assignment, the ESOL teacher will read to students Story Painter: Life of Jacob Lawrence by John Duggleby and show how a series of paintings can tell a story. The ESOL teacher should also utilize photographs and images to help student comprehension when reading the biography of Dr. King (such as Happy Birthday, Martin Luther King).

Special Education Modifications and Adaptations: Read an age appropriate book about Dr. Martin Luther King Jr. (such as Happy Birthday, Martin Luther King). The teacher will provide cards with pictures and text that describe the life of Dr. King based on the book of choice. Students will work as a group to sequence the cards in story order. Provide geometric shaped templates and straight edges for students to use as they draw pictures in the style of  Jacob Lawrence. Students will accompany drawings with one or two sentences that they write or dictate.

ADDITIONAL RESOURCES

  • “Martin Luther King Jr.’s Life in Pictures.” CNN, www.cnn.com/interactive/2018/04/us/martin-luther-king-jr-cnnphotos/. Accessed 26 June 2023.

 

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by: Whitney Jones. Modifications, Extensions, and Adaptations Contributed by:  Peggy Barnes, Candy Bennett, Lindsey Elrod, Jennifer Plummer, and Vilma Thomas.  Reviewed by Michael Miller. Updated by Whitney Jones Snuggs and Katy Betts.

Revised and copyright:  June 2024 @ ArtsNOW

Fun with Fractions 2-3

FUN WITH FRACTIONS

FUN WITH FRACTIONS

Learning Description

In this lesson, students will use fractions to describe the sounds that they hear in music. Students will then use fractions to create their own music.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: MUSIC & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create music to represent fractions.
  • I can identify and write fractions based on musical examples.

Essential Questions

  • How can musical composition help us understand fractions?

 

Georgia Standards

Curriculum Standards

Grade 3: 

3.NR.4: Represent fractions with denominators of 2, 3, 4, 6 and 8 in multiple ways within a framework using visual models.

Arts Standards

Grade 3: 

ESGM3.CR.2 Compose and arrange music within specified guidelines.

 

ESGM3.PR.2a. Perform steady beat and simple rhythmic patterns using body percussion and a variety of instruments with appropriate technique.

 

ESGM3.RE.1b. Describe music using appropriate vocabulary (e.g. upward/downward, forte/piano, presto/largo, long/short), appropriate mood (e.g. happy/sad), and timbre adjectives (e.g. dark/bright, heavy/light).

 

South Carolina Standards

Curriculum Standards

Grade 3:

3.NSF.1 Develop an understanding of fractions (i.e., denominators 2, 3, 4, 6, 8, 10) as numbers. 

  1. A fraction (called a unit fraction) is the quantity formed by one part when a whole is partitioned into equal parts; 
  2. A fraction is the quantity formed by parts of size

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 4: I can play instruments alone and with others.

Anchor Standard 6: I can analyze music.

 

Key Vocabulary

Content Vocabulary

  • Numerator -  The top number of a fraction
  • Denominator - The bottom number of a fraction

Arts Vocabulary

  • Found sound - Sounds created from unexpected sources; for example, using classroom objects (rulers, pencils, chairs, etc.) as musical instruments
  • Timbre - The quality of sound; the component of a tone that causes different instruments to sound different from each other, even when playing the same note; for example, instrumental timbre and vocal timbre
  • Body percussion - Sounds produced using the body (e.g., claps, snaps, pats, stamps)
  • Unpitched Instruments - Instruments that are tuned to specific pitches (e.g., drum, maracas, rhythm sticks, triangle, etc.)

 

Materials

  • Assortment of unpitched instruments (or found sound objects like an empty can or tapping two pencils together)  
  • Writing utensils  
  • Paper (or individual white boards) for students
  • Fraction cards

 

Instructional Design

Opening/Activating Strategy

  • Have students listen to various classroom instruments, body percussion, and/or found sounds and label them as same and different. 
    • For example, perform two claps and have students identify these as “same.” Tap a chair once and a water bottle once and have students identify as “different.”
  • Explain to students that timbre is the component of a tone that causes different instruments to sound different from each other, even when playing the same note; for example, instrumental timbre and vocal timbre.
    • Extend the opening to have students listen to various sounds performed on classroom instruments, body percussion, and/or found sound and describe the timbres, grouping instruments into families. 
    • Families could be woods, metals, and drums (or other “families,” such as if sounds were produced by tapping, scraping, or shaking as appropriate).

 

 

Work Session

  • Model the “sound detective” game. 
    • Have students draw a short horizontal line on their whiteboard or blank paper. 
    • Using a steady beat, play four of the same sounds on the same instrument. 
      • Have students write the number “4” on their whiteboard under the line. 
        • Identify this as the denominator indicating that there were four total sounds. 
      • Lead students to understanding that 4 identical sounds were heard; thus, to represent the sound fractionally, they would write a 4 on top of the line as well (that is, 4 of the 4 sounds were the same). 
        • Identify top number as numerator.
  • Follow this same process for additional 4-beat patterns, changing the number of “different” sounds and challenging students to represent these sounds fractionally. 
    • For example, if 3 of the 4 beats were played on a metal instrument, the sound could be represented as 3/4. 
  • Explore other ways of making sounds different from each other (e.g., loud and soft sounds—dynamics). 
  • Divide students into small groups. Distribute fraction cards to groups. 
    • Have students create a rhythm representing the fraction on their card and perform for peers. 
    • Have classmates identify what is heard. The denominator will need to be identified beforehand.

 

ELA Extension:

  • Use children’s poems to further explore fractions. 
    • Examples: 
      • “Mary Had a Little Lamb” has two lines that include rhyming words, so 2/4 lines (or 1/2) of the poem uses rhyming words. 
      • “Rain, Rain, Go Away” has four lines that use rhyming words, so 4/4 of the lines of the poem use rhyming words. 
    • To aid musical skill development, have students play the rhythm of the poem on their instruments.
    • Assign rhyming words to the same instrument so students make the connection between the sounds in the words and the sounds the instrument makes.
    • Suggested poems include:

 

Rain, Rain go away.                            Mary had a little lamb.

Come again another day.                     Its fleece was white as snow.

All the children want to play.             And everywhere that Mary went,

Rain, rain, go away.                           The lamb was sure to go.

 

Cock-a-doodle-doo,                           A wise old owl lived in the oak;

My dame has lost her shoe,               The more he saw the less he spoke.

My master’s lost his fiddling stick,   The less he spoke the more he heard.

        Sing cock-a-doodle-doo.           Why aren’t we all like that wise old bird?

 

Closing Reflection

  • Facilitate a class discussion reflecting on the process. 
  • Ask students how music helped them understand fractions.
  • Ask students if they can think of other things from the lesson that they could represent in terms of fractions. 
    • Examples could include three out of four students liked the sound of tapping on a can better than tapping two pencils together.

 

Assessments

Formative

Teachers will assess students’ learning by observing whether students can identify body percussion, found sound, and/or unpitched percussion instrument sounds as the same and different and whether students can count sounds and represent them with numbers.

 

Summative

CHECKLIST

  • Students can create music to accurately represent fractions.
  • Students can identify and write fractions based on musical examples.

 

Differentiation

Acceleration: 

  • Challenge students to use higher denominators (beats in the musical composition) and more than two types of instruments.
  • Students can create their own compositions and then represent them by writing the equation showing the addition of all fractions in their composition.
  • Have students write poetry using rhyme schemes illustrating fractions. 
  • Divide students into pairs. Have them create rhythms representing the two fractions they are holding. Have classmates identify the two fractions heard. 

 

Remediation:

  • Have students work with a partner to write numbers describing the sounds heard. 
  • Have students work with a partner to identify rhyming words.
  • Perform body percussion and other sounds in front of students so they can see and hear the same and different sounds and sound sources.

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

 Ideas contributed and updated by:  Maribeth Yoder-White

 Revised and copyright:  June 2024 @ ArtsNOW

Geometry Groove 2-3

GEOMETRY GROOVE

GEOMETRY GROOVE

Learning Description

In this lesson, students will use movement and shape to understand types of angles and composition of polygons.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: DANCE & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify and create different types of angles.

  • I can create a movement for a polygon that shows different types of angles.

Essential Questions

  • How can dance/movement aid in comprehension of angles and polygons?

 

Georgia Standards

Curriculum Standards

Grade 3: 

3.GSR.6: Identify the attributes of polygons, including parallel segments, perpendicular segments, right angles, and symmetry.

3.GSR.6.1 Identify perpendicular line segments, parallel line segments, and right angles, identify these in polygons, and solve problems involving parallel line segments, perpendicular line segments, and right angles

3.GSR.6.2 Classify, compare, and contrast polygons, with a focus on quadrilaterals, based on properties. Analyze specific 3- dimensional figures to identify and describe quadrilaterals as faces of these figures.

Arts Standards

Grade 3:

ESD3.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD3.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD3.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD3.RE.1 Demonstrate critical and creative thinking in dance.

 

South Carolina Standards

Curriculum Standards

Grade 3: 

3.G.3 Use a right angle as a benchmark to identify and sketch acute and obtuse angles.

Arts Standards

Anchor Standard 1: I can use movement exploration to discover and create artistic ideas and works.

 

Anchor Standard 2: I can choreograph a dance.

 

Anchor Standard 3: I can perform movements using the dance elements.

Anchor Standard 7: I can relate dance to other arts disciplines, content areas, and careers.

 

Key Vocabulary

Content Vocabulary

  • Acute angle - An angle less than 90 degrees but more than 0 degrees

  • Obtuse angle - An angle between 90 and 180 degrees
  • Right angle - An angle of 90°, as in a corner of a square
  • Polygon - A two-dimensional enclosed figure with at least three sides

Arts Vocabulary

  • Choreography - The art of composing dances and planning and arranging the movements, steps, and patterns of dancers

  • Choreographer - A person who creates dances
  • Shape - This refers to an interesting and interrelated arrangement of body parts of one dance; the visual makeup or molding of the body parts of a single dancer; the overall visible appearance of a group of dancers
  • Space - An element of movement involving direction, level, size, focus, and pathway
  • Formation - The placement of dancers in a performance space

 

Materials

  • Sound source and music with a steady beat
  • Markers or crayons
  • Printed copies of dance photography

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Set up chairs and tables in a circular format to maximize students’ engagement and ability to see their peers during the activity and performance. Also establish parameters for acceptable movement choices and discuss audience behavior/etiquette with students.

  • Begin the lesson by engaging students in movement that introduces students to a few of the Elements of Dance: Body, space and time.
    • Have students arrange themselves in the classroom with enough personal space to move freely without touching a neighbor.
    • Turn on instrumental music with a steady beat.
    • First, have students bring awareness to their bodies by leading them through gentle stretches starting from the head and moving to the toes (e.g., head circles, shoulder shrugs, toe touches, etc.).
    • Next, bring students’ awareness to the rhythm of the music by having them walk in place to the beat with high knees, swinging their arms side to side. 
    • Now, direct students create shapes with their bodies; use geometric language such as curved shapes or sharp angles to direct students. 
    • Ask students to volunteer to be the leader by demonstrating a shape for students to copy.
    • This could lead into a game of Pass the Movement if time permits.
      • The objective of the game is to create a sequence of movements by passing a dance move around the circle or group, with each student adding their unique twist. 
      • Each student will create a simple movement and "pass" it to the next student, who will then repeat the movement and add their own.
      • Choose one student to start the game. This student will perform a simple movement, such as a clap, a jump, a spin, or a wave. Encourage students to focus on creating shapes and angles with their bodies.
      • The starting student then "passes" this movement to the next student by making eye contact and gesturing towards them.
      • The next student repeats the initial movement and then adds their own unique movement.
      • This student then "passes" the combined movements to the next student.
      • Each subsequent student repeats the previous movements in the correct order and adds their own new movement.
      • Continue passing the movement around the circle or along the line until all students have had a turn.
      • Once the movement has gone all the way around, have the group perform the entire sequence together from start to finish.
    • Have students return to their seats.

 

Work Session

  • Discuss with students how they used their bodies to create angles and shapes. 
  • Divide the class into small groups.
    • Ask students if they can create an obtuse angle with their bodies? Acute? Right?
    • Provide time for groups to share.
  • Pass out printed copies of dance photography to students.
    • Ask students to identify the types of angles, shapes, and polygons that they see in the photos.
    • Students should outline and label each type in a different color crayon/marker. 
    • Project images of the photography on the board and allow time for students to share what they identified in the photos. 
  • Next, randomly pass out note cards with a type of angle written on it. 
  • Students must create a shape with their bodies that demonstrates a polygon with that type of angle (i.e., acute angle in a rhombus).
    • Students can choose to each make the movement with their bodies individually, or can combine to make one large formation together. 
  • Now, tell students that dancers move to the beat of music. Students will have four beats to perform their movement. Tell students that by the count of four, they should be showing their polygon with their bodies and should freeze in the shape.
    • Practice a four count to the beat of the music with students.
    • Allow time for students to practice using a four count to perform their movement.

 

Closing Reflection

  • The students will perform their movements for their classmates. Discuss appropriate audience participation and etiquette prior to performances.
  • After each performance, the audience should be able to identify the polygon and the types of angles represented.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator; ability to identify types of shapes, polygons and angles in dance photography; and collaborative choreography.

 

Summative

CHECKLIST

  • Students can identify and create different types of angles.
  • Students can create a movement for a type polygon with the type of angle assigned.

 

DIFFERENTIATION 

Acceleration: Challenge students to create a three movement phrase that includes three types of polygons that have the type of angle assigned. Students must create transitions between the movements to create smooth choreography.

Remediation: Scaffold the lesson by choosing a type of angle and polygon to create a movement for as a class. Then, have students create a new movement in their groups for a polygon using that same type of angle. Finally, groups will create a movement for a polygon that uses a new angle. 

 

 

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by: Melissa Dittmar-Joy. Updated by Katy Betts.

Revised and copyright: June 2024 @ ArtsNOW

 

HABITATS ON AIR 2-3

HABITATS ON AIR

HABITATS ON AIR

Learning Description

In this lesson, students will explore habitats using movement. They will work in teams to show their classmates ways to conserve when playing “Conservation Charades”. Students will then write Public Service Announcements through the eyes of a local animal whose habitat has been tainted by pollution. Having students to embody the endangered species helps them to empathize with the animal in order to work towards solutions.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: THEATRE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can accurately identify local habitats and organisms.
  • I can recognize pollution types, their effects on habitats, and identify various conservation methods.
  • I can use my voice and body to embody the organisms in a local habitat and the impact pollution has on that habitat.

Essential Questions

  • How can theatre techniques be used to understand local habitats and the impact of pollution and conservation on these habitats?

 

Georgia Standards

Curriculum Standards

Grade 2: 

S2E3. Obtain, evaluate, and communicate information about how weather, plants, animals, and humans cause changes to the environment.

 

Grade 3: 

S3L2. Obtain, evaluate, and communicate information about the effects of pollution (air, land, and water) and humans on the environment.

Arts Standards

Grade 2:

TA2.CR.1 Organize, design, and refine theatrical work.

TA2.CR.2 Develop scripts through theatrical techniques.

TA2.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

Grade 3:

TA3.CR.1 Organize, design, and refine theatrical work.

TA3.CR.2 Develop scripts through theatrical techniques.

TA3.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

Grade 3: 

3-LS4-4. Make a claim about the effectiveness of a solution to a problem caused when the environment changes and affects organisms living there.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Anchor Standard 3: I can act in improvised scenes and written scripts.

Anchor Standard 8: I can relate theatre to other content areas, arts disciplines, and careers.

 

Key Vocabulary

Content Vocabulary

  • Habitat - A living thing's home
  • Ecosystem - A community of living organisms (plants, animals, and microorganisms) interacting with each other and their physical environment (such as soil, water, and air)
  • Adaptation - A change that a living thing goes through so it fits in better with its environment
  • Thrive - When a living thing lives well and flourishes
  • Endangered - Living organisms that are threatened with extinction
  • Natural resources - All of the "nature made" assets that are useful in your environment
  • Pollution - Contamination of water, air, or land with garbage, noise, or chemicals
  • Conservation - The act of protecting our resources including the land, water, plants, animals and air
  • Litter - Waste products that have been disposed of improperly, typically by being discarded on the ground or in other open environments instead of being placed in designated trash or recycling containers
  • Public Service Announcements (PSA) - A type of advertisement featured on television, radio, print or other media intended to change the public interest by raising awareness of an issue, affecting public attitudes, and potentially stimulating action

Arts Vocabulary

  • Theater - Dramatic literature or its performance; drama
  • Character - A person, an animal or other figure assuming human qualities, in a story
  • Voice – An actor’s tool, which we shape and change to portray the way a character speaks or sounds
  • Body – An actor’s tool, which we shape and change to portray the way a character looks, walks, or moves
  • Dialogue – Conversation between characters
  • Scene – The dialogue and action between characters in one place for one continuous period of time
  • Improvisation - A creation that is spoken or written without prior preparation

 

  • Monologue - A speech by a single character in a play, film, or other dramatic work; often used to give the audience deeper insight into the character's motivations and feelings
  • Ensemble - All the parts of a thing taken together, so that each part is considered
  • Tableau -  A “living picture” in which actors pose and freeze in the manner of a picture or photograph

 

Materials

  • Conservation charades index cards with one of the following activities listed on each: Recycle soda cans, turn off water, pick up litter, plant a tree, carpool
  • Habitat pages with pictures of animals and plants
  • Types of pollution list with pictures of harmed habitats
  • Habitat visuals with three pictures - healthy habitat, polluted habitat, harmed animal

 

Instructional Design

Opening/Activating Strategy

  • Start with a general physical warm-up to get the students' bodies ready. Use exercises such as:
    • Stretching: Stretch all major muscle groups.
    • Shaking Out Limbs: Shake out arms, legs, and the whole body to release tension.
    • Energy Passes: Stand in a circle and pass a clap or a simple motion around to build group focus and energy.
  • Explain that students will explore different characters by changing their movements and physicality.
    • Call out simple prompts to get students thinking about different ways to move. Call out various types of characters and ask students to walk around the space embodying those characters. Examples include:
      • A squirrel looking for acorns
      • A tree blowing in the wind
      • A fish swimming in the river

 

Work Session

LOCAL HABITATS

  • Facilitate a discussion around what students know about habitats.
    • Ask students: What makes up a habitat? (Food, water, shelter, air)
    • Name some of the habitats in your state. For example, Georgia’s habitats would include the Piedmont, Mountains, Swamp Marsh, Coastal, and Atlantic Ocean. Write them on the board.
    • Ask students to make the following movements every time they hear these words (replace these habitats with those of your your state):
      • Piedmont – left arm salutes at chest level, right elbow up with forearm pointing down, both pointer fingers pointing at each other to the area between the arms
      • Mountains – hands flat, touching with arms making a downward V in front of chest
      • Swamp marsh –
        • Swamp - flat hands come in front of chest, moving like boggy water
        • Marsh - use hands as if opening a little window in front of your face (like moving the swamp grass out of your way)
      • Coastal – hold both elbows with opposite hands (as if a border) then wiggle hands out like a wave running back into the ocean
      • Atlantic Ocean – use both hands as if waves rolling in front of body
    • Discuss with students how each habitat has different characteristics, so different organisms will live in different habitats. For example, ask students if a bear is able to live in the ocean.
      • Organisms cannot live in every habitat. They have specific places that they live because they need specific things that the different habitats provide.
    • Review the different habitats that are local to your state. Discuss which organisms will thrive in each habitat and which would fail to survive and why.
    • Example of Georgia habitats:
      • Piedmont - area of land made up of rolling hills and occasional mountains. A plateau between the coastal plain and the Appalachian Mountains.
        • Land animals - squirrels, red foxes, opossum, raccoons, deer, rabbits
        • Water animals - reptiles, snakes, salamanders, frogs, and lizards. Because they are reptiles and amphibians, they like to be near water! Additionally, beavers and ducks live here.
        • Plants and trees - oak tree, hickory tree, pine tree, azaleas, dogwoods, iris
      • Mountains - area of land that has rocky soil, mountains, forests, and a cold climate. The trees and plants are the same as those in the Piedmont region.
        • Land animals - bear, bobcat, squirrel, red fox, opossum, raccoon, deer, rabbit
        • Water animals - fish, frogs, otters
        • Birds - owls, bats, eagles
      • Swamp marsh - an area of wet, low land usually containing large amounts of grass and no trees. Located near the coast.
        • Trees - giant tupelos and bald cypresses
        • Plants - pitcher plant, bladderwort, cypress tree
        • Land animals - bear, deer, raccoon
        • Water animals - water moccasin, alligator, river otter
        • Water birds - osprey, egret, sandhill crane
      • Coastal (Coastal Plain) - where the ocean meets the land portion of the coastline that separates the plains from the sea.
        • Plants - wiregrass, grasslands
        • Trees - live oak trees, Spanish mosses, cypress trees, saw palmetto
        • Birds - egrets, pelicans, cranes
        • Animals - turtles, sea turtles, snakes
      • Atlantic Ocean - large body of salt water to the east
        • Land animals - Loggerhead sea turtles
        • Marine animals - dolphin, whale, jellyfish, crab, shark
        • Trees - cordgrass, wax myrtle morning glories, sea oats, pennyworts, anemones

 

WHY ARE HABITATS IMPORTANT?

  • Discuss why habitats are important. Ask students what they think happens when the habitats change. Ask students what impact they think that animals moving or dying would have on the ecosystem.
    • For example:
      • If there were no more plants, then the butterflies couldn’t eat.
      • If there were no more flies then the frogs couldn’t survive.
    • Tell students that in order to keep ecosystems healthy, we need to take care of our habitats.
      • During the past hundred years, due to new technologies, the world has changed in many ways. Some changes have improved the quality of life and health for many people. Others have affected people’s healthcare adversely causing different kinds of pollution that have harmed the environment. Ask students if they can think of any examples of the way technology has impacted the environment.
      • Ask students what they think of when you say the word, “pollution”. Examples of types of pollution:
        • Air - Air pollution is caused by cars and factories. Harmful gasses and tiny particles (like carbon dioxide, nitrogen dioxide and sulfur dioxide) pollute the air. The smoke released from burning fuel from factories and cars, are the major sources of air pollution.
        • Water - Our water gets polluted because of the dirty water from our house that drains through the pipes into the rivers and oceans dirtying the water. Trash and oil spills also contribute to water pollution.
        • Land - Garbage is thrown on the street every day because we don't always recycle or reuse things. All of the toxic chemicals and waste that is left or dumped on our land causes it to become polluted. All types of waste can be found on land. Some is left behind after human activities and some is washed ashore from boats and sewage outlets. Plastic and dirt also causes land pollution.
      • Tell students to do the following movements every time they hear or say these words:
        • Air - forearms waving back and forth
        • Water - fingers rain down
        • Land - forearms flat on top of each other in front of chest

 

CONSERVATION/POLLUTION SOLUTIONS 

  • Discuss the concept of conservation with the class.
  • Reduce, Reuse, Recycle - Do the following movements every time that you say the phrases:
    • Reduce – both thumbs down and traveling from shoulder height to belly button
    • Reuse – cups inside of left hand on top of cupped right hand and then switch
    • Recycle – twirl forearms in front of chest
  • Ask students if anyone knows what this phrase means. Tell students that it is a motto that is extremely helpful to the environment. It encourages everyone to cut down on the waste that they throw away.
    • Recycle – to change something so it can be used again and again
    • Reuse – to use an object more than once to help save the world
    • Reduce – to stop using or reduce use of products that hurt the environment
  • Tell students that many of the resources we use in our everyday lives are disposed of quickly. Ask students for examples of things that they throw away on a daily basis. For example, food is wrapped in paper or plastic bags, drinks are in disposable bottles or cans, and batteries are disposed of after a short life.
    • Ask students what we could do to help with this problem. Students may respond with things like using reusable water bottles instead of plastic ones.
  • Tell students that pollution is a responsibility and concern of all people in every community. Ask students to brainstorm some ways that they could help to stop pollution. (Write class ideas on the board. For example: Don’t put garbage into the lakes and streams, walk or ride bikes whenever possible, and pick up litter.)

 

CONSERVATION CHARADES

  • Tell students that they are now going to play a game called Conservation Charades. Ask students if anyone has ever played charades. Explain that in this game the participants use their bodies and gestures but not words.
  • Divide students into small groups. Give each group a Conservation Charades index card with an activity on it. Tell students that they will need to work together to show the rest of the class that activity dealing with conservation using their bodies and gestures but not words.
  • Give students a few minutes to decide how they will show their activity. Circulate to work with students and check for understanding.
  • Have each group show their activity and allow the other groups to guess what they are acting out.
  • When all groups have had a turn, discuss the conservation tip on each card and how they help save our resources.

 

HABITAT PUBLIC SERVICE ANNOUNCEMENT – CRIES FOR HELP 

  • Ask students, what do you think some of the animals who live in polluted habitats think and feel?
  • Students should remain in their groups. Each member of the group will get a habitat visual page for the same habitat. Each student will also need a blank piece of paper. Ask each student to look at the three pictures.
    • One picture is a healthy habitat; collaborating with their groups, ask students to identify and write the name of the habitat on their blank piece of paper.
    • Ask students to discuss with their groups what is different about the second image. They should observe that it is polluted. Tell students to write down the type of pollution. Ask students, what could humans do to help with that pollution? Students should discuss with their groups and write down their ideas on their paper.
    • Tell students to now look at the animal in the picture (students in groups can have the same or different animal). Tell students to give their animal a name and write it down.
    • Ask students to look at their picture and think about the following:  What sounds do you hear in your habitat?  What things do you see in your habitat? Other animals? Plants?  What do you smell in your habitat?  How does your animal feel about the pollution in the habitat? Provide time for students to discuss in their groups.
    • Now, ask students to sit or stand like their animal would sit or stand. Using a voice different from their own, like they are the animal, ask students to say out loud what they had for their animal breakfast. This exercise will help students embody their animals.
  • Next, ask students what they think of when they hear “Public Service Announcement”.
    • Tell students that a Public Service Announcement (or PSA) is a type of advertisement featured on television, social media, print or other format that is intended to change the public interest by raising awareness of an issue, affecting public attitudes, and potentially stimulating action.
    • Now, tell students to write a PSA in which their animal is persuading local people to help save their habitat.
    • Tell students that they must include the name of their habitat/region, a description of how pollution has affected them as the animal, and how people can help.
    • Teachers should demo an example.
    • Give students some time to write their PSAs; students can work individually or in their groups.
    • When complete, ask one student to walk to the front of the room as their animal.  Have them read their PSA to the class using their body and voice to act as their animal.

 

ACTING OUT THE HABITAT

  • In their groups, have students create a scene that demonstrates the animal, its habitat, and the impact of pollution on the habitat. Students should use their bodies and voices to bring the scene to life.
  • Students will perform their habitats for their classmates.
  • Provide time for students to practice their scenes. Circulate to work with students and check for understanding.

 

Closing Reflection

  • Students will perform their scenes for the class. Discuss appropriate audience participation and etiquette prior to performances.
  • Before performing, students should share their habitat. After each performance ask the audience to identify which characters they see in the habitat and what impact pollution has on the environment.
  • Review the types of habitats and pollution using the movements that students learned at the beginning of the lesson.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator; discussion of local habitats, pollution, and conservation methods; collaboration with their groups on the PSA and scenes enacting the effects of pollution on their habitats.

 

Summative

CHECKLIST

  • Students can accurately identify local habitats and organisms.
  • Students can recognize pollution types, their effects on habitats, and identify various conservation methods.
  • Students can use their voices and bodies to embody the organisms in a local habitat and the impact pollution has on that habitat.

 

DIFFERENTIATION 

Acceleration: Have students write a monologue from the point of view of their character in the habitat explaining how pollution has impacted them.

Remediation: 

  • Reduce the number of activities to focus on mastery.
  • Allow students to select from the activities, like a choice board, rather than having students complete all activities.

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by: Susie Spear Purcell. Updated by Katy Betts.

Revised and copyright: July 2024 @ ArtsNOW