THE DAY THE CRAYONS QUIT READER’S THEATER 4-5

THE DAY THE CRAYONS QUIT READER’S THEATER

THE DAY THE CRAYONS QUIT READER’S THEATER

Learning Description

In this lesson students will work collaboratively to understand the characters of a story through a reader’s theatre performance. Students will embody one character using their voices and bodies to portray the character’s feelings throughout the story. Through the use of theatre techniques, students will gain a greater understanding of the setting, characters, conflict, resolution, and theme of the story.

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can portray a character within the context of a story using my body and voice.

  • I can identify the setting, characters, conflict, resolution, and theme of a story.

  • I can create prps and costumes for my performance.

Essential Questions

  • How does using voice and body help us to understand a character?

  • What are the setting, characters, conflict, resolution, and theme of the story?

  • How do costumes and props enhance a performance?

 

Georgia Standards

Curriculum Standards

Grade 4: 

ELAGSE4RL2 Determine a theme of a story, drama, or poem from details in the text; summarize the text.

 

ELAGSE4RL3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character's thoughts, words, or actions).

 

Grade 5: 

ELAGSE5RL2 Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text.

 

ELAGSE5RL3 Compare and contrast two or more characters, settings, or events in a story or drama, drawing on specific details in the text (e.g., how characters interact).

Arts Standards

Grade 4: 

TA4.PR.1 Act by communicating and sustaining roles in formal and informal environments.

TA4.PR.1.a Use vocal elements (e.g. inflection, pitch, volume, articulation) to communicate a character’s thoughts, emotions, and actions.

TA4.PR.1.b Use body and movement to communicate a character’s thoughts and emotions.

TA4.PR.1.c Collaborate and perform with an ensemble to present theatre to an audience.

 

Grade 5: 

TA5.PR.1 Act by communicating and sustaining roles in formal and informal environments.

TA5.PR.1.a Use vocal elements (e.g. inflection, pitch, volume, articulation) to communicate thoughts, ideas, and emotions of a character.

TA5.PR.1.b Use body and movement to communicate thoughts, ideas, and emotions of a character.

TA5.PR.1.c Collaborate and perform with an ensemble to present theatre to an audience.

 

South Carolina Standards

Curriculum Standards

Grade 4: 

ELA.4.AOR.1.1 Explain how setting and conflict cause characters to change and how conflict(s) contributes to plot development. 

ELA.4.AOR.2.1 Identify and explain an explicit or implied theme and how it is developed by key details in a literary text. 

Grade 5: 

ELA.5.AOR.1.1 Analyze how setting, characters, and conflict impact plot development.

ELA.5.AOR.2.1 Explain the development of an explicit or implied theme over the course of a literary text.

Arts Standards

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

T.P NL.3 I can use body and voice to communicate character traits and emotions in a guided drama experience.

 

Key Vocabulary

Content Vocabulary

  • Setting - Where and when a story takes place

  • Characters - A person, animal, or imaginary being that takes part in the events of the story
  • Conflict - A problem or struggle that the characters face. It drives the action and makes the story interesting.
  • Resolution - How the problem or conflict gets solved; where the story comes to an end, and the characters' challenges are resolved
  • Theme - The main message, idea, or lesson the author wants to share

Arts Vocabulary

  • Dialogue - A conversation between two or more persons

  • Character - An actor or actress in a specified role
  • Script - The written version of a play, movie, or other acted performance
  • Props - Items that actors use in a performance to depict real-life objects.  Props can also be used to help students brainstorm for their writing or character study.
  • Body - Actors use their body to become a character through body posture and movement. What your mind thinks, what your emotions feel, all of this is supposed to show up in your body.
  • Facial expression - Using your face to show emotion
  • Gesture - An expressive movement of the body or limbs
  • Voice - Actors use their voice to be heard by the audience clearly. Actors must also apply vocal choices such as pitch, tempo, and volume to the character they are dramatizing. 
  • Tone - The way your voice sounds when you speak. It shows how you feel, like being happy, sad, excited, or serious.

  • Tableau - A frozen picture representing a scene or moment in a story that occurs during a theatrical performance. When creating a tableau in theatre, the following principles should be applied:
    • Create body levels (low, mid, high); 
    • Use facial expressions to communicate thoughts and feelings;
    • Show relationships between the various characters in the setting; and
    • Make sure the audience can all see your face.
  • Statues - Frozen poses or shapes made by actors to represent a character, idea, or moment in a story

 

Materials

  • Class set of The Day the Crayons Quit Reader’s Theatre script
  • Cardboard, construction paper, tape, and any other materials needed to create costumes and props
  • Dice (at least two for the whole class)
  • List of six sample sentences printed or projected

 

Instructional Design

Opening/Activating Strategy

  • Engage students in a warm-up where they can practice speaking with expression and fluency.
    • Start by explaining that they'll practice saying sentences in different expressive ways. Share how emotions and tone make stories fun and engaging.
    • Assign one die to represent an emotion (e.g., 1 = happy, 2 = sad, 3 = surprised, etc.).
    • Assign another die to pick a sentence from the list.
    • A student rolls the dice to determine their sentence and emotion.
    • They say the sentence aloud, embodying the emotion as much as possible, using gestures, tone, and facial expressions.
    • The rest of the class guesses the emotion or gives positive feedback like, “You sounded so excited!”.
    • To make it collaborative, pair students to have mini conversations where they act out their sentences and emotions.

 

Work Session

  • Pass out the script to students. Read through the script once as a whole class. Teacher can decide how best to assign reading roles.
  • After the read through, have students discuss in small groups the characters and their emotions.
  • Assign each group one character to discuss in detail.
    • Students should identify and write down the character’s emotions and characteristics. 
    • Then, they should decide what type of voice the character would have and how the character would speak. 
    • Next, they should decide how their character would move.
    • Have students rehearse lines in unison in their groups using their voices and bodies to embody the characters.
    • Teacher should circulate the room to check student progress and understanding. 
  • Performance option 1:
    • Have students decide whether they would like to audition to perform their group’s character in a class performance. The teacher will select the cast list. 
  • Performance option 2:
    • Divide students into new groups so that one person from each character group is in the new group. 
    • Have students rehearse the script in their new group and then perform for the class. 
  • Performance option 3:
    • Have students perform the script as a whole class. When it is each character’s turn to speak, the group will speak and use their bodies to act out their character in unison from their desks.
  • Optional: Students can work together to create simple props and costumes for the performance.

 

Closing Reflection

  • Students can give the performers two glows and a grow. 
  • Discuss the conflict, resolution, and theme of the story as a class.
  • Students should respond to the following reflection prompts either verbally or in written format:
    • How did using your voice and body help you understand your character?
    • How would you describe your character? What were their feelings?

 

Assessments

Formative

  • The teacher will observe whether:
    • Students can identify characters’ emotions.
    • Students can use their voices and bodies to embody a character.
    • Students can read lines with fluency and expression throughout the rehearsal process.

 

Summative

CHECKLIST

  • Can students read their lines with fluency and expression in the final performance?
  • Can students use their bodies and voices to express their character’s emotions?
  • Can students identify the conflict, resolution, and theme of the story?

 

DIFFERENTIATION 

Accelerated: 

  • Have the class perform the script using Performance Option 2.
  • Have students create props and costumes for their performances.

Remedial: 

  • Have the class perform the script using Performance Option 3.
  • Use tableau and statues to support student comprehension of the script prior to engaging in character analysis.

 

*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: Michelle Rheaume and Katy Betts

Revised and copyright:  2025 @ ArtsNOW

 

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DOL DRAMA AND TEXT STRUCTURES 4-5

DRAMA AND TEXT STRUCTURES

DRAMA AND TEXT STRUCTURES

Learning Description

In this lesson students will use body movement, facial expression and voice to portray six different non-fiction text structures. In small groups, students will read a script that is based off of an informational text that demonstrates each of the different text structures. They will show the emotions and body movements of the characters in the scripts. After groups perform, the audience will choose which text structure they think was being demonstrated.

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: ELA & DRAMA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can demonstrate and explain how various non-fiction texts are organized.

  • I can use my body, face, and voice to portray a character.

Essential Questions

  • How can elements of drama be used to accurately display non-fiction text structures?

 

Georgia Standards

Curriculum Standards

Grade 4

ELAGSE4RI5 Describe the overall structure (e.g., chronology, comparison, cause/effect, problem/solution) of events, ideas, concepts, or information in a text or part of a text.

 

Grade 5

ELAGSE5RI5 Compare and contrast the overall structure (e.g., chronology, comparison, cause/effect, problem/solution) of events, ideas, concepts, or information in two or more texts.

Arts Standards

Grade 4

TA4.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

TA4.RE.1 Engage actively and appropriately as an audience member.

 

Grade 5

TA4.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

TA5.RE.1 Engage actively and appropriately as an audience member.

 

South Carolina Standards

Curriculum Standards

Grade 4

READING - INFORMATIONAL TEXT (RI)

Language, Craft, and Structure (LCS) 

Standard 8: Interpret and analyze the author’s use of words, phrases, text features, conventions, and structures, and how their relationships shape meaning and tone in print and multimedia texts. 

8.1 Determine how the author uses words and phrases to shape and clarify meaning.

8.2 Apply knowledge of text features to gain meaning; describe the relationship between these features and the text.

 

Grade 5

READING - INFORMATIONAL TEXT (RI)

Language, Craft, and Structure (LCS) 

Standard 8: Interpret and analyze the author’s use of words, phrases, text features, conventions, and structures, and how their relationships shape meaning and tone in print and multimedia texts. 

8.1 Analyze how the author uses words and phrases to shape and clarify meaning.

8.2 Apply knowledge of text features in multiple sources to gain meaning or solve a problem.

Arts Standards

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

I can experiment with physical and vocal characterization choices in a simple theatrical work.

 

Anchor Standard 5: I can interpret and evaluate live or recorded dramatic performances as an active audience member.

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

 

Key Vocabulary

Content Vocabulary

  • Non-fiction - A text that is factual

  • Text structure - The way information is organized and presented within a written text to achieve its purpose
  • Descriptive - A genre of writing that aims to provide detailed, vivid descriptions of real-life events, people, places, or things
  • Sequential - A type of nonfiction writing that presents information in a clear, logical order, often following a step-by-step sequence
  • Compare and contrast - A type of writing that aims to identify the similarities and differences between two things

 

  • Cause and effect - A type of nonfiction that explores the relationships between events or phenomena, focusing on how one or more causes lead to specific effects

  • Problem and solution - A type of nonfiction that identifies a specific problem and then explores one or more solutions to address it
  • Proposition and support - A type of nonfiction that presents a specific argument or claim (the proposition) and then provides evidence and reasoning to support it

Arts Vocabulary

  • Character - A person, animal, or other being portrayed by an actor in a play, musical, or other dramatic work

  • Face (expression) - Conveying emotions, intentions, and reactions, both to the audience and to other characters on stage
  • Pitch - The highness or lowness of a character's voice when speaking
  • Tempo - The speed or pace at which characters speak
  • Body - The physical presence and movements of actors on stage
  • Heavy body - A type of physical characterization and movement style where an actor adopts a sense of weight and solidity in their portrayal of a character
  • Light body - A type of physical characterization and movement style where an actor adopts a sense of lightness, buoyancy, and agility in their portrayal of a character
  • Movement - The physical actions and gestures performed by actors on stage
  • Dialogue - The spoken interactions between characters on stage

 

Materials

Text Structures Skit

 

Instructional Design

Opening/Activating Strategy

  • Say various emotion words. Ask students to show that emotion their movements, facial expressions and/or voice.
  • Introduce the concepts of body, face and voice in theatre. As a class, discuss why these elements of drama are important to creating a memorable character. 
  • Watch a clip of a movie or show that shows an example of acting that uses body, face and voice. Discuss how the actor(s) used these elements.

 

Work Session

  • Review the six different types of nonfiction text structures as a class. 
  • Match students with an acting partner.
    • Assign each pair characters and emotions (ex: two exhausted construction workers or two happy butterflies in a field).
    • Remind students use their body, face and/or voice to match their characters and their emotions.
    • Provide time for students to practice embodying these characters using the elements.
    • Allow time for a few pairs to perform for the class. If time permits, allow students to try to identify the characters and/or emotions being portrayed.
    • Facilitate a class discussion around how the partners used body, face and/or voice to portray their characters and emotions.
  • Tell students that they will be using body, face, and voice to demonstrate their understanding of text structures.
  • Arrange students into small groups of three to five. Give each group a short script that is based on a specific nonfiction text structure.
  • Students will act out their scenes using their body, face and voice to portray the specific characters from the script. Allow students time to practice their scenes.
    • Circulate the room and provide support as needed.
  • Allow groups to perform their scenes for the class.
    • Discuss proper audience participation prior to group performances. 
    • While groups are performing, students should complete the provided chart to mark which scenes demonstrate which text structures.

 

Closing Reflection

  • Facilitate a class discussion around how body, face and voice can be used as a tool of communication.
  • Discuss which body, face, and voice choices best match each text structure.

 

Assessments

Formative

Teachers will assess student understanding by observing how students are using the elements of drama, students’ responses to the review of the types of text structures, and students’ participation with their partners and their groups.

 

Summative

CHECKLIST: 

  • Students can demonstrate and explain how various non-fiction texts are organized.
  • Students can use body, face and voice to portray a character and demonstrate understanding of text structures.

 

DIFFERENTIATION 

Accelerated: 

  • Students can add stage directions to their performances.
  • Students can write their own script based on a nonfiction text structure.
  • Students have the option of memorizing their script.

Remedial: 

  • Students use peer support to help reading lines.
  • Reduce the content in the script.

 

*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: Tim Hoeckel

Revised and copyright:  Jan 2025 @ ArtsNOW

 

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Theatrical Teamwork 4-5

THEATRICAL TEAMWORK

THEATRICAL TEAMWORK

Learning Description

Challenge your students in a brand new way as they work collaboratively to explore critical thinking, creative problem solving, and team work with basic theatrical techniques!

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can collaborate with others to accomplish a goal.
  • I can interact with others to explore ideas and concepts, communicate meaning, and develop ideas through collaborative conversations.
  • I can build upon the ideas of others to clearly express my own views while respecting the ideas of others.

Essential Questions

  • How can theatre techniques help us collaborate with each other?
  • How can working together help us accomplish our goals?

 

Georgia Standards

Curriculum Standards

Grade 4: 

ELAGSE4SL1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly.

 

Grade 5:

ELAGSE5SL1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 5 topics and texts, building on others’ ideas and expressing their own clearly.

Arts Standards

Grade 4:

TA4.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

Grade 5:

TA5.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

 

South Carolina Standards

Curriculum Standards

Grade 4: 

COMMUNICATION - Meaning and Context

Standard 1: Interact with others to explore ideas and concepts, communicate meaning, and develop logical interpretations through collaborative conversations; build upon the ideas of others to clearly express one’s own views while respecting diverse perspectives.

1.1 Explore and create meaning by formulating questions, engaging in purposeful dialogue with peers and adults, sharing ideas and considering alternate viewpoints.

1.2 Participate in discussions; ask and respond to questions to acquire information concerning a topic, text, or issue.

1.3 Apply techniques of articulation, adequate volume, eye contact, facial expressions, posture, gestures, and space; take one’s own turn in a respectful way.

1.4 Engage in focused conversations about grade appropriate topics and texts; build on the ideas of others, pose specific questions, respond to clarify thinking, and express new thoughts.

1.5 Explain personal ideas and build on the ideas of others by responding and relating to comments made in multiple exchanges.

 

Grade 5: 

COMMUNICATION - Meaning and Context

Standard 1: Interact with others to explore ideas and concepts, communicate meaning, and develop logical interpretations through collaborative conversations; build upon the ideas of others to clearly express one’s own views while respecting diverse perspectives.

1.1 Consider viewpoints of others by listening, reflecting, and formulating questions before articulating personal contributions.

1.2 Participate in discussions; ask and respond to probing questions to acquire and confirm information concerning a topic, text, or issue.

1.3 Apply effective communication techniques and the use of formal or informal voice based on audience and setting.

1.4 Engage in focused conversations about grade appropriate topics and texts; build on the ideas of others, pose specific questions, respond to clarify thinking, and express new thoughts.

1.5 Explain personal ideas while building on the ideas of others to demonstrate understanding of diverse perspectives.

 

Arts Standards

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

  • Collaboration - The process of two or more people working together to achieve a common goal by sharing knowledge, learning, and building consensus
  • Diverse perspectives - The variety of viewpoints, experiences, and ideas that individuals from different backgrounds, cultures, and life experiences bring to a discussion or decision-making process

Arts Vocabulary

  • Theater - Dramatic literature or its performance; drama
  • 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
  • Improvisation - A creation that is spoken or written without prior preparation
  • Ensemble - All the parts of a thing taken together, so that each part is considered
  • Conductor - The director of an orchestra or symphony
  • Signal - Non-verbal cue

 

Materials

  • Whiteboard
  • Markers
  • Blank index cards
  • Clipboards, paper and pencils
  • Plastic cup, balloon or beach ball

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: This activity works best in an open space with chairs around the perimeter of the room. 

 

  • 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.
  • SKILL CUP: This ensemble building warm-up is a good exercise to keep coming back to throughout the year. You will see how your students start to work as a team as the school year passes. You can use a plastic cup, balloon, beach ball, etc. for this activity.
    • Arrange students in a circle.
    • Tap the base of the plastic cup so that it is air-born!
    • Allow students to continue tapping the base of the cup without the cup hitting the floor. (No one can hit the cup two times in a row, but he or she can hit the cup more than once in the sequence.)
    • All students must audibly count to ten; the goal is to keep the cup from hitting the floor before the number ten is reached. If the cup hits the floor, the process must be repeated.
    • At the end of the activity, ask students to reflect on how they had to work together to achieve their goal.

 

Work Session

ORCHESTRAL THEATER: This exercise invites students to discover the actor or actress within!

  • Ask students to define the word conductor. Ask students for some examples of conductors (e.g., Bach, Debussy, Liszt, Beethoven).
  • Discuss this role and identify what signals he/she uses to tell the musicians to slow down, speed up, get louder and softer, and eventually stop. If time permits, show students a segment of an orchestral performance and discuss the body language, postures, signals, etc. that students notice.
  • Arrange students in groups of five. One student will be the conductor and the other four will be the orchestra.
  • Tell the students who are the conductors to think of a name for themselves.
  • One at a time, each conductor will come forward and choose four cards.
  • Each card will have a topic with suggestions for unusual instruments (drumbeat on a cup, etc.).
  • The conductor will give each member of his or her orchestra one of the peculiar instruments to play or be. The conductor may use the suggestions on the card or make up his/her own instrument. 
  • The orchestra members will use a sound and a movement to create/play this instrument. Give students a designated amount of time to create a musical composition.
  • Tell students that the conductor will need to use signals to indicate whether the orchestra members should play faster or slower, louder or quieter, simultaneously or individually (eye contact and focus are important for both the conductor and the instruments). They cannot use words.
  • Finally, the conductor and orchestra will generate a name for the piece of music.
  • Each group will perform their musical composition for the class. Teacher note: Discuss appropriate audience participation and etiquette prior to performances.
  • The conductor should introduce him or herself with their chosen name and the name of the composition.
  • After the performance, all students should take a bow and the audience should applaud.
  • Debrief the process with students asking questions such as what was easy about the exercise and what was challenging. Was it easy or hard to lead (the conductor)? To follow (the orchestra)? Why?

GROUP POEM: This exercise allows students to vocalize their thoughts as a group. It enhances and strengthens the ensemble. The poem can be based on any theme that you wish to explore with your students. You can tie your theme to a particular issue that your class is dealing with, a unit of study, or an attribute that you are exploring.

  • Have students sit in a circle.
  • Discuss what it means to collaborate and respect diverse opinions. Ask students for examples of what this might look like. Establish agreed-upon guidelines for the activity and post them somewhere that everyone can see so that the class can refer back to them if needed.
  • Tell students to call out the first thing that comes to their minds when you say a particular word such as ”heart”.  Listen for answers and then call out another word such as “love”.
  • Once the students feel free to talk and explore, head toward the theme. (Option: Start with low-stakes words such as “candy” to help the group get comfortable sharing. Then, transition to deeper words like “heart” or “love”.)
  • Tell students that now you are going to start a phrase and they should finish it for you (based on your chosen theme).
    • Examples: “It's hard to be honest when……” or “Forgiveness is…..”
  • Write down answers as they are called out. Make sure to scribe word for word.
  • Read the title (“Forgiveness is”) and then read all of the student’s comments aloud in poem form.
  • Type the poem up and distribute it to students on the following day.

 

PERSON TO PERSON

  • Discuss what it means to collaborate and respect diverse opinions. Ask students for examples of what this might look like. Establish agreed-upon guidelines for the activity and post them somewhere that everyone can see so that the class can refer back to them if needed.
  • Say to students, “We all have things we want to tell people in our lives but don’t always feel comfortable saying to them in person. if you could say anything to a particular person (ie, your mother, father, teacher, friend, president, etc.) Who would you speak to?”
  • Allow time for students to reflect.
  • Say to students, “Let's all talk to the same person today–to tell that person something that you don’t feel comfortable telling them face to face or you just haven’t ever told them for some reason.”
  • Ask students, “Who are some people you might want to talk to?”. Allow time for answers and write them down.
  • Tell students that now you will take a vote to see who we will all talk to today.
  • Call out a list and have everyone vote one time.
  • Teacher: “Today we are going to talk to…..(the principal). Let’s title our poem, “Students to Principal”.” (Insert the appropriate people based on your students and the person they voted to talk to.)
  • Ask students to now close their eyes and think about standing in front of this person, face to face. Ask students to volunteer to share with the group what they would say to them.
  • Write down answers as they are called out. Make sure to scribe word for word.
  • Read the title (“Students to Principal”) and then read all of the student’s comments aloud in poem form.
  • Type the poem up and distribute it to students on the following day.

 

Closing Reflection

  • Allow students to reflect on the process with a 3-2-1 ticket out the door. Students should write three things that interested them about the process, two things they noticed about themselves or that were challenging for them in the process, and one question or comment they have about the process.
  • Provide time for students to either share with the whole class or with a partner.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, contributions to group activities, and collaboration with classmates.

 

Summative

CHECKLIST

  • Students can collaborate with others to accomplish a goal (skill cup, orchestral theatre and collaborative poems).
  • Students can interact with others to explore ideas and concepts, communicate meaning, and develop ideas through collaborative conversations.
  • Students can build upon the ideas of others to clearly express their own views while respecting the perspectives of others.

 

 

DIFFERENTIATION 

Acceleration: 

  • Arrange students in collaborative groups for poems so that students can work at their own pace.
  • Have students complete a written reflection that builds upon the 3-2-1 ticket out the door.
  • Let this lesson launch into a narrative writing piece about a time that students had to use teamwork and collaboration to accomplish a goal.

Remediation: 

  • Spend time unpacking the activities with examples. Provide examples of responses for the group poem and the person to person poem.
  • Arrange students in collaborative groups so that students can work at their own pace.

*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

 

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Counting with Cups 4-5

COUNTING WITH CUPS

COUNTING WITH CUPS

Learning Description

Help students recognize and cultivate creative and critical thinking using various activities that connect math and music! Consider valuable curriculum connections that assist in the development of problem solving skills through fun and engaging learning experiences.

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: MUSIC & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify, speak, and move to a steady beat.
  • I can demonstrate understanding of mathematical concepts, such as fractions and multiplication, etc., through music.
  • I can compose and notate music.
  • I can explain how I used math to create my musical composition.
  • I can compare fractions with the same and different denominators.

Essential Questions

  • How can connecting math and music aid students in their problem solving abilities and cultivate creative and critical thinking?

 

Georgia Standards

Curriculum Standards

Grade 4: 

4.NR.4.2 Compare two fractions with the same numerator or the same denominator by reasoning about their size and recognize that comparisons are valid only when the two fractions refer to the same whole.

4.NR.4.3 Compare two fractions with different numerators and/or different denominators by flexibly using a variety of tools and strategies and recognize that comparisons are valid only when the two fractions refer to the same whole.

 

Grade 5: 

5.NR.3.1 Explain the meaning of a fraction as division of the numerator by the denominator ( / = a ÷ b). Solve problems involving division of whole numbers leading to answers in the form of fractions or mixed numbers.

5.NR.3.2 Compare and order up to three fractions with different numerators and/or different denominators by flexibly using a variety of tools and strategies.

Arts Standards

Grade 4:

ESGM4.CR.1 Improvise melodies, variations, and accompaniments.

ESGM4.CR.2 Compose and arrange music within specified guidelines.

ESGM4.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM4.RE.1 Listen to, analyze, and describe music.

ESGM4.RE.2 Evaluate music and music performances.

ESGM4.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

Grade 5:

ESGM5.CR.1 Improvise melodies, variations, and accompaniments.

ESGM5.CR.2 Compose and arrange music within specified guidelines.

ESGM5.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM5.RE.1 Listen to, analyze, and describe music.

ESGM5.RE.2 Evaluate music and music performances.

ESGM5.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

South Carolina Standards

Curriculum Standards

Grade 4: 

4.NSF.2 Compare two given fractions (i.e., denominators 2, 3, 4, 5, 6, 8, 10, 12, 25, 100) by creating common denominators or numerators, or by comparing to a benchmark fraction such as 1 / 2 and represent the comparison using the symbols >, =, or <.

4.ATO.1 Interpret a multiplication equation as a comparison (e.g. interpret 35 = 5x7 as a statement that 35 is 5 times as many as 7 and 7 times as many as 5.) Represent verbal statements of multiplicative comparisons as multiplication equations.

4.ATO.5 Generate a number or shape pattern that follows a given rule and determine a term that appears later in the sequence.

 

Grade 5: 

5.NSF.3 Understand the relationship between fractions and division of whole numbers by interpreting a fraction as the numerator divided by the denominator

 

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 2: I can improvise music.

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

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

Anchor Standard 9: I can relate music to other arts disciplines, other subjects, and career paths.

 

Key Vocabulary

Content Vocabulary

  • Division - Splitting a quantity into equal parts or groups
  • Multiplication - Combining equal groups to find the total number of items
  • Fractions - A mathematical expression that represents the division of one quantity by another

Arts Vocabulary

  • Body percussion - Sounds produced by striking or scraping parts of the body; typically includes snapping, clapping, patting, and stamping
  • Steady beat - An unchanging continuous pulse
  • Timbre - The unique quality of a sound; also known as tone color or tone quality
  • Dynamics - Volume of sound (loudness, quietness)
  • Found sound - Sounds produced by non-traditional sound sources in the environment (e.g., scraping a ruler along a binder spine, tapping a pencil on a desk)
  • Phrase - A musical sentence
  • Retrograde - A musical line which is the reverse of a previously or simultaneously stated line
  • Rondo - A form of composition in which the first section recurs throughout the piece, alternating with different sections (e.g., A-B-A-B-A or A-B-A-C-A, etc.). This form is found especially in compositions of the Baroque and Classical eras.
  • Tempo - The speed of the beat

 

Materials

  • Variety of unpitched percussion instruments (can be “found sound”, such as, scraping a ruler along a binder spine, tapping a pencil on a desk)
  • Plastic cups in various colors and sizes
  • Rhythm sticks or dowel rods
  • Sound source (e.g., computer and speaker)
  • Musical recordings
  • Large pads and markers
  • Paper and writing utensils (pencils, markers, crayons, etc.)
  • Note cards with mathematical equations

 

Instructional Design

Opening/Activating Strategy

Classroom Tips - You may find it helpful to discuss proper use of, and care for, instruments prior to use. Discuss “resting” position, meaning no sound at all from instruments. Also discuss moving through “space” without touching anything else around. Pretend you are in a bubble and cannot touch anything or anyone in your surroundings.

 

  • Turn on music with a steady beat that is easy for students to follow (or, simply play a steady beat without accompanying music).
  • Students stand in the space (no formation).
  • Leader claps (or plays) the beat while students walk to the pulse.
  • Leader plays four beats (while students move); then students stop and clap four beats (same tempo as leader).
  • Continue the game, moving around the room freely.
  • Have students stop in front of someone and clap their partner’s hands for the second set of four claps.
  • Thus, the sequence becomes:
    • Move to leader’s beat (set 1 = 4 beats)
    • Stop and clap beat alone (set 2 = 4 beats)
    • Move to the leader's beat (set 3 = 4 beats)
      • Stop and clap your partner's hands (set 4 = 4 beats).
  • Have students move to a new partner each time.
  • Extend the sequence by adding additional movements and/or body percussion for subsequent sets of four beats (e.g., move to leader’s beat; clap beat alone; move to leader’s beat; clap partner’s hands; move to leader’s beat; pat beat; etc.).

 

Work Session

Wake-up and Warm-up  

  • Tell students that they will continue the activator, but now, they will turn it into a mathematical equation!
    • Example: 4+4+4+4=16 or 4x4=16
  • Experiment with different tempos and different numbers of beats (i.e., slower tempo, use body percussion or instruments to show 3+3+3+3+=12 or 3x4=12).
  • Introduce a variety of rhythm instruments if available (rhythm sticks, drum, wood block, triangle, tambourine). Otherwise, use objects around the classroom, such as scraping a ruler along a binder spine, tapping a pencil on a desk.
  • Take time to discuss the various shapes of each instrument (compare and contrast both shapes and sounds—timbre).
  • Use students to demonstrate to group various equations that can be solved.
  • Teacher will have two students play 6+6=12.
  • Arrange students in pairs and pass out equations. Then have students “play” equations and have partners solve the equations.
    • For example if a notecard shows 4+4=8, one student would play 4 beats with one instrument or body percussion (such as clapping) and the other student would have to solve by saying “you demonstrated 4+4=8”. Next, have students express the equation in terms of fractions. For example, ½ of the composition was clapping and ½ was stomping.
    • Then switch roles.
    • Then challenge the students to just play the answer (for example, 8). The other student must find a way to “play” 8, such as 2+2+2+2. Then, have students express the composition in terms of fractions.

 

Question and Answer

  • The format of this strategy will have the question being asked on the first eight beats and the answer on the second eight beats); reverse.  Display visuals of numbers.
    1 2 3 4 5 6 7 8
    1 2 3 4 5 6 7 -
    • Have students speak numbers in a given tempo.
    • Have students clap once on each number while speaking; repeat, eliminating speech.
  • Divide the class into two groups.
  • Have students clap twice on one number of their choice; extend to clapping twice on two numbers.
    • Discuss how if we clap twice on one beat (or one number) it represents two half beats. Show the fraction 1/2.
  • Under each of the numbers, draw “stick notation” to show quarter notes and eighth notes. Quarter note =1 and the eighth note =½.
  • Now, incorporate questions and answers. Leader provides a question via clapping the first eight beats; students use part of the question in their answer in the second eight beats (e.g., “use the first part of my question as the first part of your answer”).
    • Extend to other body percussion, found sound, and/or unpitched percussion.
  • Try the strategy using pairs instead of two groups. Divide students into pairs, with one person providing the question and another, the answer; reverse.
  • Incorporate movement; add to a recording if desired (for example, “Hora Agadati” or “Jai Ho”).
    • Have students walk eight beats and then “answer” using body percussion for the next eight beats.
  • Tell students that a phrase in music is a musical sentence. Ask mathematical questions such as, if each phase is eight beats and we have four phases, how many total beats? If the first eight beats are made by clapping, what fraction of the composition is clapping?
  • Have students work in pairs to create a “composition” using rhythm instruments that contains between two and six phrases (each phrase must be between six and twelve beats).
  • Have them label the phrases with capital letters and then show equations for “how they play” each phrase (as demonstrated in the previous activity).
  • Have students compare compositions in terms of fractions. The total number of beats in the composition will be the denominator.

 

Composing with Cups

  • Display different colored cups and have students reach consensus about desired sound for each (e.g., blue – quarter note, yellow – eighth notes, clear – quarter rest).
  • Introduce silently, having students use creative and critical thinking to figure out the values (number of sounds for each cup) independently first.
  • Teacher should lead this activity in silence, changing cups (number of sounds) and even length of phrase prior to any discussion.
  • Pause and discuss what students observed about the values of each cup.
  • Next, have individual students create rhythmic patterns for others to perform using the different colored cups.
  • Have students “conduct” their patterns by leading other students in performing them.
  • Variations:
    • Experiment with performing multiple patterns at the same time (having two groups perform simultaneously), reading in retrograde (reverse order), adding dynamics (loud/soft), etc.
    • Add to a recording as desired (such as Sousa’s “Stars and Stripes Together”).
    • Have two groups face each other. Have a student compose a pattern behind another group and the group facing him/her perform the rhythm.
      • The group with their back to the composer will write the rhythm using traditional or “stick” notation.
  • Finally, have students work in small groups to create their own composition with cups. Students should notate their composition and be able to explain the mathematical concepts embedded in their composition, such as fractions.

 

Closing Reflection

  • Students will perform their compositions for the group. Discuss appropriate audience participation prior to performances.
  • Ask the audience to help identify mathematical connections.
  • Have students compare different compositions in terms of fractions. For example, students can compare the fraction of claps in one composition to the fraction of claps in another composition even if the total number of beats in the composition is different (different denominators).

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to “play mathematical equations”, ability to move and speak to a steady beat, and collaboration with groups to compose a musical piece.

 

Summative

CHECKLIST

  • Students can identify, speak, and move to a steady beat.
  • Students can demonstrate understanding of mathematical concepts, such as patterns and addition, through music.
  • Students can compose music.
  • Students can explain how they used math to create their musical compositions.

 

DIFFERENTIATION 

Acceleration: 

  • Challenge students to add dynamics to and/or change the tempo of their performances and discuss how these changes alter the music.

Remediation: 

  • Scaffold the lesson by composing together as a class and discussing how pattern and addition were used.
  • Reduce the length of the composition students create at the end of the lesson to one phrase of four beats.

*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: Pamela Walker and Maribeth Yoder-White.

Revised and copyright: September 2024 @ ArtsNOW

 

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READING WITH CUPS…AND MORE! 4-5

READING WITH CUPS…AND MORE!

READING WITH CUPS…AND MORE!

Learning Description

Help students explore and connect the worlds of music and language arts while cultivating creative and critical thinking using various activities that support and improve literacy!

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

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"I Can" Statements

“I Can…”

  • I can write a narrative inspired by music.
  • I can compose a rhythmic pattern using cups.
  • I can create and perform an original poem to accompany my rhythmic pattern.

Essential Questions

  • How do music and language arts naturally overlap to promote literacy and cultivate creative and critical thinking?

 

Georgia Standards

Curriculum Standards

Grade 4: 

ELAGSE4RF4 Read with sufficient accuracy and fluency to support comprehension.

  1. Read on-level text with purpose and understanding. b. Read on-level prose and poetry orally with accuracy, appropriate rate, and expression on successive readings. c. Use context to confirm or self-correct word recognition and understanding, rereading as necessary.

 

ELAGSE4W3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences.

  1. Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally. b. Use dialogue and description to develop experiences and events or show the responses of characters to situations. c. Use a variety of transitional words and phrases to manage the sequence of events. d. Use concrete words and phrases and sensory details to convey experiences and events precisely. e. Provide a conclusion that follows from the narrated experiences or events.

 

Grade 5: 

ELAGSE5RF4 Read with sufficient accuracy and fluency to support comprehension.

  1. Read on-level text with purpose and understanding. b. Read on-level prose and poetry orally with accuracy, appropriate rate, and expression on successive readings. c. Use context to confirm or self-correct word recognition and understanding, rereading as necessary.

 

ELAGSE5W3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences.

  1. Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally. b. Use narrative techniques, such as dialogue, description, and pacing, to develop experiences and events or show the responses of characters to situations. c. Use a variety of transitional words, phrases, and clauses to manage the sequence of events. d. Use concrete words and phrases and sensory details to convey experiences and events precisely. e. Provide a conclusion that follows from the narrated experiences or events.

 

Arts Standards

Grade 4:

ESGM4.CR.2 Compose and arrange music within specified guidelines.

 

ESGM4.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

 

ESGM4.RE.1 Listen to, analyze, and describe music.

 

ESGM4.RE.2 Evaluate music and music performances.

 

ESGM4.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

Grade 5:

ESGM5.CR.2 Compose and arrange music within specified guidelines.

 

ESGM5.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

 

ESGM5.RE.1 Listen to, analyze, and describe music.

 

ESGM5.RE.2 Evaluate music and music performances.

 

ESGM5.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

 

 

South Carolina Standards

Curriculum Standards

Grade 4: 

ELA.4.F.4.2 Read a variety of texts orally and silently with accuracy, appropriate rate, expression, and intonation.

 

ELA.4.C.3.1 Write narratives developing real or imagined experiences. When writing: a. establish a situation and setting; b. introduce a narrator and/or characters; c. organize a plot structure; d. use narrative techniques such as dialogue, descriptive language, and sensory details to develop events, setting, and characters; e. use a variety of transitional words and phrases to sequence events; and f. provide an ending that follows from the narrated experiences or events.

 

Grade 5: 

ELA.5.F.4.2 Read a variety of texts orally and silently with accuracy, appropriate rate, expression, and intonation.

 

ELA.5.C.3.1 Write narratives to develop real or imagined experiences. When writing: a. establish a situation and setting; b. introduce a narrator and characters; c. establish a plot structure; d. use narrative techniques such as dialogue, precise words, descriptive language, and sensory details to develop events, setting, and characters; e. use a variety of transitional words and phrases to sequence the events; and f. provide an ending that follows logically from the narrated experiences or events.

 

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.

Anchor Standard 7: I can evaluate music.

Anchor Standard 9: I can relate music to other arts disciplines, other subjects, and career paths.

 

 

Key Vocabulary

Content Vocabulary

  • Poetry -  A form of literary expression that uses aesthetic and often rhythmic qualities of language—such as meter, rhyme, and structure—to evoke emotions, convey ideas, or tell a story
  • Narrative - A structured account or story that describes a sequence of events, real or fictional, that unfold over time
  • Setting - Where and when a story takes place
  • Characters - The individuals, animals, or beings who take part in the events and actions of the narrative
  • Plot - The sequence of events that make up a story

Arts Vocabulary

  • Pitch - The highness or lowness of a sound
  • Timbre - The unique quality of a sound; also known as tone color or tone quality
  • Dynamics - Volume of sound (loudness, quietness)
  • Harmony - The combination of different musical notes played or sung simultaneously to produce a pleasing sound
  • Tempo - The speed of the beat
  • Texture - The overall feel of a piece based on the number of instruments or voices and how they are arranged
  • Steady beat - An unchanging continuous pulse

 

Materials

  • Plastic cups in various colors and sizes
  • Sound source (e.g., computer and speakers)
  • Musical recordings
  • Paper and writing utensils (pencils)

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Depending on your students, you may find it important to discuss proper use of, and care for, instruments prior to use. Discuss “resting” position, meaning no sound at all from instruments. 

 

  • Play a musical selection for students, such as, “Carnival of the Animals: Aquarium” or “Carnival of the Animals: Fossils”.
  • As students listen, review/discuss elements of music: Pitch, harmony, timbre, dynamics, texture, and tempo.
  • Ask students to make observations about the sounds that they hear and the images that they evoke. Ask students to justify their answers with evidence from the music. For example, “I see two people arguing because the instruments were loud and clashed”.

 

 

Work Session

Responding to Music

  • Have students discuss elements of a story: Setting, plot, character(s), conflict, and theme.
  • Listen again the the piece of music from the warm-up, such as “Carnival of the Animals: Aquarium” or “Carnival of the Animals: Fossils” by Camille Saint-Saёns.
  • Students will draw a line down the middle of a piece of paper to create two columns on their page.
    • In the first column, students write descriptive words about the musical selection specific to the elements of a story answering questions such as:
      • Where do you think this piece of music takes place?
      • What characters do you hear/see in the music?
    • After a couple of times listening and free writing, have the students use the second column to articulate WHAT in the music makes them hear and/or see these things, such as the loud dynamics or the disjointed sounds.
  • Students will continue this activity by writing a narrative inspired by the music.
    • Students should include a situation and introduce the characters; organize an event sequence that unfolds naturally, include dialogue and description to develop experiences and events or show the responses of characters to situations, use a variety of transitional words and phrases, use concrete words and phrases and sensory details, and provide a conclusion that follows from the narrated experiences or events.

 

Composing with Cups  

  • Without saying anything, play a pattern on cups for students.
  • Teacher should lead this activity in silence, changing cups (number of sounds) and even length of phrase prior to any discussion.
  • Have students use creative and critical thinking to figure out the values (number of sounds for each cup) independently first. For example, blue – quarter note, yellow – eighth notes, clear – quarter rest).
  • Pause and discuss what students observed about the values of each cup.
  • Perform a rhythmic pattern using cups.
  • Next, demonstrate how to read a short poem to the rhythm of the pattern created with cups. Have students practice reading the poem with you.
  • Divide students into small groups. Have each group write their own short poem, such as an acrostic or haiku, and create rhythmic patterns using cups to accompany their poem.
  • Students should be sure to write their poems in appropriate form based on the type of poem.

 

 

Closing Reflection

  • Students will perform their compositions for the class. Discuss appropriate audience participation and etiquette prior to performances.
  • Discuss how students spoke the poems to the rhythm of their compositions and how different compositions created a different performances.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to discuss music using musical vocabulary, conferencing with students during the writing process, and collaboration with groups to create a rhythmic pattern to accompany their short poem.

 

Summative

CHECKLIST

  • Students can respond to music by writing a narrative that has a beginning, middle, end, setting, and characters and meets grade level criteria.
  • Students can compose a rhythmic pattern using cups.
  • Students can create and perform an original poem to accompany their rhythmic pattern.

DIFFERENTIATION 

Acceleration: 

  • Divide students into two groups and have them read a selection such as “Fireflies” from Joyful Noise: Poems for Two Voices by Paul Fleischman. Discuss the separate “voices” and the overlap of the “voices”. Students can then do a choral reading of the poem. Play musical selection representing different “voices” such as “Canceling Stamps in Ghana”. Compare it to musical “voices” or parts, discussing melody, harmony, and texture.

Remediation: 

  • Develop the plot, setting, and characters for the narrative as a class or in small groups. Then allow students to work independently to write their own stories.
  • Compose a rhythmic pattern together as a class. Once students have learned it, break students into small groups and have them practice performing it to their individual poems.

 

 

*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: Maribeth Yoder-White. Updated by: Katy Betts.

Revised and copyright: September 2024 @ ArtsNOW

 

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