PERFECTLY PRETTY PYSANKY EGGS K-1

PERFECTLY PRETTY PYSANKY EGGS

PERFECTLY PRETTY PYSANKY EGGS

Learning Description

Egg decorating in the Spring is a popular tradition in the United States and in many other parts of the world. In Ukraine, people use hot wax and colorful dyes to make beautiful and delicate decorations. In this lesson, students will learn how to mimic the Ukrainian Pysanka egg decorating process using wax and watercolors while demonstrating their understanding of the long letter/sound of U.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: VISUAL ARTS & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use wax sticks and watercolor paints to create a geometric and organic design that mimics the process of designing Ukrainian Pysanky Eggs.

  • I can identify lines, shapes, and colors in Pysanky designs.

  • I can mimic the Pysanka Egg decorating process by incorporating elements of art to create a unique design. 

  • I can say and use the long letter U to incorporate into my Pysanka egg design.

  • I can identify words that use the long U sound.

Essential Questions

  • How can I use wax sticks and watercolor paints to create a geometric and organic design that mimics the process of designing Ukrainian Pysanky Eggs?

  • What is the difference between the long and short U sound?

  • How are line and shape used to create interesting designs?

 

Georgia Standards

Curriculum Standards

Kindergarten:

ELAGSEKRF3 Know and apply grade-level phonics and word analysis skills in decoding words.

  1. Demonstrate basic knowledge of long and short sounds for the given major vowels. 

 

Grade 1:

ELAGSE1RF2 Demonstrate understanding of spoken words, syllables, and sounds (phonemes). 

  1. Distinguish long from short vowel sounds in spoken single-syllable words.

Arts Standards

Kindergarten:

VAK.CR.2 Create works of art based on selected themes. 

 

VAK.CR.3 Understand and apply media, techniques, and processes of two-dimensional art.

 

Grade 1: 

VA1.CR.2 Create works of art based on selected themes. 

 

VA1.CR.3 Understand and apply media, techniques, and processes of two-dimensional art.

 

South Carolina Standards

Curriculum Standards

Kindergarten: 

READING - Literary Text

Principles of Reading

Standard 3: Know and apply grade-level phonics and word analysis skills when decoding words.

3.2 Associate long and short sounds of the five major vowels with their common spellings.

 

Grade 1:

READING - Literary Text

Principles of Reading

Standard 2: Demonstrate understanding of spoken words, syllables, and sounds.

2.1 Distinguish long from short vowel sounds in spoken single-syllable words

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

  • Tradition - The handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction

  • Pysanka (Pysanky - plural) - A hand-decorated Ukrainian Easter egg with intricate designs

Arts Vocabulary

  • Color - A way that we describe an object based on the way that it reflects or absorbs light

 

  • Line - A straight, one-dimensional figure that connects two points

 

  • Shape - A two-dimensional object; can be geometric or organic

  • Space – Distances or areas around, between, and within components of an artwork

 

Materials

  • Long U handout (one for every two students)
  • Shapes and lines handout (one for every two students)
  • Egg template printed on white cardstock paper (one per student)
  • Watercolor paints/brushes
  • Wax sticks
  • Clear tape (if needed)
  • Black thin markers
  • Paper plates, cups of water, paper towels and a messy mat or butcher paper to cover work space

 

Instructional Design

Opening/Activating Strategy

  • Begin the lesson by reading the poem about the letter U (slide 2 of the PowerPoint).
    • Repeat and have students say the highlighted long U words in the poem.
  • Pass out the Long U handout–one copy for every two students.
    • Ask students to work with a partner to apply their knowledge of the long U by circling pictures that start with the long U sound. 
  • Explain to students that they will use the long U letter knowledge and the elements of art, line, shape and color, to design and create a piece of art.

 

Work Session

SESSION 1 – Building Background 

  • Discuss the word “traditions” and ask students to share different traditions from their own cultures.
    • Discuss different traditions around the world and explain that they will be learning about a specific tradition in a country that starts with the long U letter.
  • Display images of locations around the world that start with the long U such as the Universe, United States, and Ukraine, (emphasize the long U sound when saying).
    • Tell students that one of the traditions in Ukraine is to create decorative eggs called Pysanky (“PIH-sahn-kih”); practice saying the word with students. Images of Pysanky can be found on slide 5 of the presentation 
  • Using the presentation, display images of decorative Ukrainian eggs and ask the students to share what they notice about them.
    • Students may notice the colors, shapes and lines. 
    • Ask students if it reminds them of any tradition that is practiced in the United States every Spring.
      • Allow students to share their egg-decorating traditions.
    • Explain to students that in Ukraine people use hot wax and different colored dyes to decorate eggs.
      • Discuss the tradition with students (slide 9).
  • Explain to students that they will be mimicking the process that the Ukrainian people use to create their own Pysanky Eggs using line, shape and color.
    • Introduce visual art vocabulary to students and draw several types of lines, shapes, and colors (primary, secondary). Use slides 10-11 for examples.

 

SESSION 2 – Application 

PREWORK – Print a large black outline of an egg onto a piece of 8 ½ x 11 pieces of white cardstock paper (see template in “materials” section).

 

  • Explain to students that they will create their own Pysanka Egg using wax sticks and watercolor paints. They will use line, shape and color in their designs.
  • Model the egg decorating process for students.
    • Using one wax stick at a time, place it inside the egg template so that each end of the wax stick is touching the edges. This will create the first organic shape. Discuss each shape so that students understand that the lines created by the wax sticks will create the shapes.
    • Tell students they will need to press down hard so the wax sticks will adhere to the paper. If needed, add a piece of clear tape to each end so that they will stay in place.
    • Repeat the process of pressing down wax sticks until all sticks are gone. 
    • Discuss the created shapes as geometric and/or organic, and model how to create one or the other if not created.
    • Explain to students they will use the handouts to help them create different lines.  
    • Once all wax sticks are secure, demonstrate how to use watercolor paints (either primary or secondary) to paint the different shapes. Tell students they can paint directly on the wax sticks, being sure to keep the wax sticks secured to the paper. 
    • Show students how to start painting close to the wax lines first, and then fill in the space with the rest of the paint. 
    • When the egg is complete, peel off the wax sticks to reveal a white line. 
    • Allow the watercolor to dry.
    • Model the last step by selecting an object to draw from the prior application activity (circling long U images).
      • Using black marker, draw a picture of the object.
      • Repeat using another object until all shapes have different drawings of long U images. (If students struggle with drawing the images, they can create different “U” s in the shapes)

 

  • Distribute student materials:
    • Egg template 
    • Watercolor paints/brush 
    • Cup of water 
    • Wax sticks (3-4) 
    • Paper towels
    • Shapes and lines handout (one for every two students)

 

  • Explain to students that they will follow step-by-step directions so that they have time to carefully create their artwork.
  • Walk the students through the process one step at a time, pausing in between so that they have adequate time to complete each part of the process.

 

Closing Reflection

  • Allow volunteers to share their Pysanky Eggs with the class.
    • The students will explain what long U images they drew in each shape. 
    • Students listening can repeat the long U word as the students share.

 

Assessments

Formative

Teachers will assess students’ understanding of the long U sound by assessing the application activity and reviewing anecdotal notes of different learning activities.

 

Summative

CHECKLIST

  • Students can identify lines, shapes, and colors in Pysanky designs.
  • Students can mimic the Pysanka Egg decorating process by incorporating elements of art to create a unique design. 
  • Students can say and use the long letter U to incorporate into their Pysanky designs.
  • Students can identify words that use the long U sound.

 

DIFFERENTIATION 

Acceleration: 

  • Students can use more than three wax sticks to create more intricate designs on their Pysanky Eggs. 
  • Students can write long U words for the images they drew on their Pysanka shapes.
  • Students can come up with their own words that have the long U sound.

Remediation: 

  • Students can create a Pysanka using two wax sticks and one image of a long U sound/letter or just draw a long U in the egg shape.

 

*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: Kim Spivey

 

Revised and copyright:  June 2024 @ ArtsNOW

 

Back to Modules

MUSIC AND ACOUSTICS THROUGH GRAPHING 2-3

MUSIC AND ACOUSTICS THROUGH GRAPHING

MUSIC AND ACOUSTICS THROUGH GRAPHING

Learning Description

Students will work together creatively to compose a rhythmic piece using cups, demonstrating their ability to identify and understand different sounds. Then, they will then graph the data they observe in their peers’ performances. Throughout the lesson, students will apply musical skills such as improvisation, composition, listening, and playing.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify high, medium, and low sounds aurally.

  • I can verbally describe the impact of size on sound. 

  • I can create and perform an 8-beat rhythmic pattern.

  • I can identify pitch elements of my peers’ compositions verbally and through notation.

  • I can graph data that I record.

Essential Questions

  • How can music listening and composing support learning in other curricular areas?

  • How can I represent musical data graphically?

 

Georgia Standards

Curriculum Standards

Grade 2: 

2.MDR.5.4 Ask questions and answer them based on gathered information, observations, and appropriate graphical displays to solve problems relevant to everyday life.

 

Grade 3: 

3.MDR.5.1 Ask questions and answer them based on gathered information, observations, and appropriate graphical displays to solve problems relevant to everyday life.

Arts Standards

Grade 2:

ESGM2.CR.1 Improvise melodies, variations, and accompaniments.

 

ESGM2.CR.2 Compose and arrange music within specified guidelines.

 

ESGM2.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

 

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

 

ESGM2.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

Grade 3:

ESGM3.CR.1 Improvise melodies, variations, and accompaniments.

 

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

 

ESGM3.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

 

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

 

ESGM3.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

South Carolina Standards

Curriculum Standards

Grade 2: 

2.MDA.8 Generate data by measuring objects in whole unit lengths and organize the data in a line plot using a horizontal scale marked in whole number units. 

 

2.MDA.9 Collect, organize, and represent data with up to four categories using picture graphs and bar graphs with a single-unit scale.

 

Grade 3: 

3.MDA.3 Collect, organize, classify, and interpret data with multiple categories and draw a scaled picture graph and a scaled bar graph to represent the data.

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

 

Key Vocabulary

Content Vocabulary

  • Graphing - The process of representing data or mathematical relationships visually using charts or graphs

  • Bar graph - A visual representation of data where rectangular bars are used to compare different categories or groups
  • Line plot - A type of graph that displays data along a number line, where each data point is marked with an "X" or dot above its corresponding value
  • Data - Facts, figures, or information collected for analysis, reference, or study

Arts Vocabulary

  • Acoustics - The branch of physics that deals with sound and sound waves

  • Body percussion - Sounds produced by striking or scraping parts of the body; typically includes snapping, clapping, patting, and stamping
  • Dynamics - Volume of sound (loudness, quietness)
  • Texture - The thickness or thinness of sound
  • Pitch - The highness or lowness of sound

 

Materials

  • Audio recording of drum composition (examples can be found on iTunes, Spotify, YouTube, etc.)
  • Sound source (computer and speakers)
  • Drums of three different sizes (improvise with other objects, such as buckets or pots, that can be used in place of a drum if you do not have drums available)
  • Plastic cups of three different sizes 
  • 8-beat visual (numbers 1-8 spaced evenly) 
  • Pencils
  • “Pitch detective” charts for each student
  • “Pitch detective” visual on board

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Arrange student groups throughout the room so that they can move far enough apart during the creating process to enable careful listening and minimize distraction from other groups. Perform compositions out of sight of “audience,” so students rely on listening rather than sight to identify sounds heard. 

 

  • Play a recording of drums as students enter the room. 
  • Have students listen and then discuss with a partner what they heard. 
  • Introduce musical terms (e.g., instrument names, dynamics, pitch, texture, etc.) as students make observations.

 

Work Session

  • Take out three different sized drums (or buckets turned over). Demonstrate different pitches (high, medium, low) of various size drums (using the same relative force when you hit each drum).
  • Ask students if they can determine the relationship between sound and drum size. 
  • Now, transfer these acoustical principles to various size plastic cups. 
  • Play a listening game with students. Out of students’ sight, perform 4- or 8-beat rhythmic patterns (or beats) on different drums and/or cups. 
  • Challenge students to identify what was heard (e.g., three sounds on a small drum and one sound on a medium drum). 
  • Have students echo the pattern, using body percussion (e.g., clap for high drum, pat for medium drum, stamp for large drum). 
  • Perform an 8-beat rhythmic pattern using low, medium, and/or high sounds, and have students identify what they heard (high, medium, and low).
    • Keep the patterns simple by using quarter notes (one sound for each beat) and eighth notes (two sounds on each beat only). 
    • Using an 8-beat visual (see below) may be helpful to guide student responses. 

1    2    3    4    5    6    7    8

  • Divide students into groups of four to six students, with each student having a cup. Have students create an 8-beat pattern using cups.
    • Remind them to include everyone in the composing and performing process.
  • Distribute pencils and “pitch detective” charts. While each group performs (out of the sight of their classmates), the other students will be “pitch detectives” and notate what they hear on their charts.
    • For example, using a blank 8x3 table (such as appears below), students could write an “X” in the appropriate boxes based on what they hear. The boxes below would demonstrate four high sounds, two medium sounds, and two low sounds.

 

Closing Reflection

  • Compare and contrast student compositions, discussing the differences in pitches and rhythms.
  • Finally, have students graph the data that they recorded on their “pitch detective” charts.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator; ability to use musical vocabulary to describe music; ability to identify high, medium, and low sounds; and collaboration with group members to create an 8-beat pattern using cups.

 

Summative

CHECKLIST

  • Students can identify high, medium, and low sounds aurally. 
  • Students can verbally describe the impact of size on sound. 
  • Students can create and perform an 8-beat rhythmic pattern.
  • Students can identify pitch elements of peers’ compositions verbally and through notation.
  • Students can graph the data that they recorded.

 

DIFFERENTIATION 

Acceleration: 

  • Provide students with a variety of materials (including but not limited to cardboard boxes, plastic hangers, foil, rubber bands in different sizes, etc). Ask students to build (or design) new instruments that play different pitches. Allow students to research and explore how instruments are made. Having different students research different instruments will allow for discussion on how they make different sounds. 
  • Combine two student compositions into a 16-beat phrase. 
  • Combine two student compositions simultaneously, producing a thicker texture. 
  • Alter dynamics and/or tempo of student compositions. 
  • Have students write compositions for others to perform using various notational systems.
    • Write 1-2 Xs in each cell of a 3x8 table. 
    • Use other symbols (triangle, square, circle) to represent high, medium, and low sounds. 
  • Have students write sequential steps for generating new compositions.

Remediation:

  • When performing rhythmic patterns, have students perform a four beat pattern. 
  • Group students into pairs as they complete their “pitch detective” charts.
  • Make the “pitch detective” charts 4x3.

ESOL Modifications and Adaptations: 

  • Ensure that students have a clear understanding of the concepts of steady beat and pitch, along with the music vocabulary words texture, dynamics, acoustics, and body percussion prior to teaching this lesson.

 

 

*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. Modifications, Extensions, and Adaptations Contributed by: Candy Bennett, Patty Bickell, Vilma Thomas, and Lori Young. Updated by: Katy Betts.

Revised and copyright: September 2024 @ ArtsNOW

 

Back to Modules

Moving with Mathematics 2-3

MOVING WITH MATHEMATICS

MOVING WITH MATHEMATICS

Learning Description

In this lesson, students will explore the concepts of fractions by creating dances using locomotor and non-locomotor movements.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can choreograph dances that match mathematical and movement criteria.

  • I can correctly solve math problems involving fractions. 

  • I can identify the fraction and movement type in performances.

Essential Questions

  • How can movement and choreography enhance understanding of 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: 

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

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; b. A fraction is the quantity formed by parts of size. A fraction is a number that can be represented on a number line based on counts of a unit fraction; d. A fraction can be represented using set, area, and linear models.

 

3.NSF.2 Explain fraction equivalence (i.e., denominators 2, 3, 4, 6, 8, 10) by demonstrating an understanding that: 

  1. two fractions are equal if they are the same size, based on the same whole, or at the same point on a number line; b. fraction equivalence can be represented using set, area, and linear models; c. whole numbers can be written as fractions (e.g., 4 = 4 / 1 and 1 = 4 / 4 ); d. fractions with the same numerator or same denominator can be compared by reasoning about their size based on the same whole.

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

  • Fraction - A number representing part of a whole

  • Numerator - Represents the number of parts out of the whole that are being considered
  • Denominator - Represents the total parts of something

Arts Vocabulary

  • Choreographer - A person who creates dances

  • Beat - Basic unit of musical time; can be heard as a regular pulse underlying music
  • Dance composition/choreography - Creating the movements in dances
  • Chassé - A gliding dance step with a pattern of step-together-step
  • Locomotor - A movement that travels through space
  • Non-locomotor - A movement that does not travel through space
  • Pathway - The designs traced on the floor as a dancer travels across space; the designs traced in the air as a dancer moves various body parts

 

Materials

  • Sound source and music
  • Paper and pencils
  • Written criteria for choreography on cards

 

Instructional Design

Opening/Activating Strateg

  • Begin the lesson by engaging students in movement that introduces students to the locomotor and non-locomotor movement.
  • Have students arrange themselves in a circle 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.).
  • Introduce non-locomotor movements to students by directing them in the following movements.
    • Bending and Stretching: Bend the knees and stretch up high.
    • Twisting: Twist the torso to the left and right.
    • Swinging: Swing the arms gently from side to side.
    • Swaying: Sway the body from side to side with feet planted.
    • Turning: Spin in place, both directions.
    • Invite students to create their own movement.
  • Introduce non-locomotor movements to students by directing them in the following movements.
    • Walking: Walk around the room with different styles (tiptoeing, heel walking, big steps, small steps).
    • Jumping: Jump in place, then move forward and backward.
    • Chassé: Step-together-step by gliding.
    • Invite students to create their own movement.
  • Combine locomotor and non-locomotor movements.
    • Traveling with Twists: Walk across the room while twisting the torso.
    • Sway and slide: Sway the upper body while sliding sideways across the room.
    • Step and turn: Take three steps forward, then turn in place (repeat, moving in different directions).
    • Invite students to create their own movement.
  • Debrief the difference between locomotor and non-locomotor movements with students. Check for understanding by stating different types of movements and see if students can identify which type of movement it is.

 

Work Session

  • Tell students that in this lesson they will be using locomotor and non-locomotor movements to choreograph a dance that they will perform for the class. 
  • Turn on music and help students find the steady beat by walking in place.
    • Now, count the beats into eight beat sections. 
    • Have students count the eight beats along with you. 
    • Practice adding some locomotor and non-locomotor movements as you complete the eight count.
  • Divide the sections into fractions (i.e., ½ of eight beats is four beats, ¼ of eight beats is two beats, ¾ of four beats, ¼ of four beats, etc).
    • Guide students in choreographing a dance in which ½ uses locomotor movements and ½ uses non-locomotor movements. Help students think about the different patterns they could use to arrange movements.
  • Break students into groups and pass out cards with criteria on them.
    • Students will create a movement sequence or dance using the learned movements from the warm-up (or movements that they create) and the criteria assigned to them.

Closing Reflection

  • The students will perform their choreography for their classmates. Discuss appropriate audience participation and etiquette prior to performances.
  • After each group performs, the audience will identify the fractions that the group illustrated using locomotor and non-locomotor movements.

 

Assessments

Formative

Teachers will assess students’ learning by observing students’ ability to identify locomotor and non-locomotor movements in the activator, understanding of fractions, and collaboration with their groups to choreograph a dance based on fractions that uses locomotor and non-locomotor movements.

 

Summative

CHECKLIST

  • Students can choreograph dances that correctly match mathematical and movement criteria (fractions and locomotor/non-locomotor movements). 
  • Students can identify the fraction and movement type being performed.

 

 

DIFFERENTIATION 

Acceleration: 

  • Challenge students by incorporating other types of dance elements such as levels.
  • Have students write their own math problem and choreograph a dance based on their problem.

Remediation: 

  • Scaffold the lesson by analyzing a math problem and choreographing a dance together that correctly matches the fractions to locomotor and non-locomotor movements.
  • Have students all use the same mathematical criteria. Solve the problem together as a class and then have students choreograph their dances.

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

Revised and copyright: June 2024 @ ArtsNOW

 

Back to Modules

Counting with Cups 2-3

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: 2-3
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 patterns, odd and even numbers, addition, fractions and multiplication through music.

  • I can compose and notate music.

  • I can explain how I used math to create my musical composition.

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 2: 

2.NR.3.1Determine whether a group (up to 20) has an odd or even number of objects. Write an equation to express an even number as a sum of two equal addends.

2.PAR.4.1 Identify, describe, and create a numerical pattern resulting from repeating an operation such as addition and subtraction.

 

Grade 3: 

3.PAR.3.1 Describe, extend, and create numeric patterns related to multiplication. Make predictions related to the patterns.

3.PAR.3.2 Represent single digit multiplication and division facts using a variety of strategies. Explain the relationship between multiplication and division.

3.NR.4.1 Describe a unit fraction and explain how multiple copies of a unit fraction form a non-unit fraction. Use parts of a whole, parts of a set, points on a number line, distances on a number line and area models.

 

Arts Standards

Grade 2:

ESGM2.CR.1 Improvise melodies, variations, and accompaniments.

ESGM2.CR.2 Compose and arrange music within specified guidelines.

ESGM2.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

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

ESGM2.RE.2 Evaluate music and music performances.

ESGM2.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

Grade 3:

ESGM3.CR.1 Improvise melodies, variations, and accompaniments.

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

ESGM3.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

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

ESGM3.RE.2 Evaluate music and music performances.

ESGM3.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

South Carolina Standards

Curriculum Standards

Grade 2: 

2.ATO.3 Determine whether a number through 20 is odd or even using pairings of objects, counting by twos, or finding two equal addends to represent the number (e.g., 3 + 3 = 6).

2.ATO.4 Use repeated addition to find the total number of objects arranged in a rectangular array with up to 5 rows and up to 5 columns; write an equation to express the total as a sum of equal addends.

 

Grade 3: 

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

3.ATO.1 Use concrete objects, drawings and symbols to represent multiplication facts of two single-digit whole numbers and explain the relationship between the factors (i.e., 0 – 10) and the product.

3.ATO.7 Demonstrate fluency with basic multiplication and related division facts of products and dividends through 100.

 

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

  • Pattern - A repeated sequence that can be found in various contexts, such as art, mathematics, nature, etc; it involves a sequence of elements (like shapes, colors, numbers, or sounds) that follow a particular order or rule

  • Odd numbers - Integers that are not divisible by 2
  • Even numbers - Integers that are not divisible by 2
  • Multiplication - Combining equal groups to find the total number of items

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.

 

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”. 
    • 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.

 

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 (in two groups) only clap on the EVEN number (first with speech, then without).
  • Have students only clap on ODD numbers (first with speech, then without).  
  • 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?  
  • Extend to ask questions about the patterns.
    • If we walk the first phase, use body percussion the next phrase and then walk the next phrases, that could be called A B A pattern.  
  • 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). 

 

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 multiplication.

 

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.

 

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 and notate a musical composition.

 

Summative

CHECKLIST

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

 

 

DIFFERENTIATION 

Acceleration: 

  • Have students listen to examples of songs and identify mathematical concepts in the song construction.
  • Challenge students to add dynamics to and/or change the tempo of their performances and discuss how these changes alter the music.

Remediation: 

  • Reduce the length of the composition students create at the end of the lesson.
  • Limit the focus of the lesson to one mathematical concept (such as multiplication being a pattern of addition) that students will build upon throughout the three strategies.

 

*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

 

 

Back to Modules

Explore Geometry with Abstract Imagery 2-3

EXPLORE GEOMETRY WITH ABSTRACT IMAGERY

EXPLORE GEOMETRY WITH ABSTRACT IMAGERY

Learning Description

Delve into the abstract world of Wassily Kandinsky! Allow your imagination to soar as you discover mathematical connections within Kandinsky images. Students will be inspired by the work of Kandinsky to create their own abstract art that incorporates geometric concepts and the elements of art.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create artwork inspired by Wassily Kandinsky that demonstrates my understanding of mathematical concepts.
  • I can describe my artwork in terms of mathematical concepts.
  • I can identify mathematical concepts in my classmates' artwork.
  • I can use color and space intentionally in my art.

Essential Questions

  • How can you utilize visual images to learn about mathematical concepts?

 

Georgia Standards

Curriculum Standards

Grade 2: 

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.

 

Grade 3: 

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 2: 

VA2.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA2.CR.2 Create works of art based on selected themes.

VA2.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA2.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art. 

 

Grade 3: 

VA3.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA3.CR.2 Create works of art based on selected themes.

VA3.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA3.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

 

 

South Carolina Standards

Curriculum Standards

Grade 2: 

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.

 

Grade 3: 

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.

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 the elements and principles of art to create artwork.

 

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

 

Anchor Standard 4: I can organize work for presentation and documentation to reflect specific content, ideas, skills, and or media

Anchor Standard 5: I can interpret and evaluate the meaning of an artwork.

 

 

 

Key Vocabulary

Content Vocabulary

  • Geometry - Branch of mathematics that deals with deduction of the properties, measurement, and relationships of points, lines, angles, and figures in space from their defining conditions by means of certain assumed properties of space.
  • Polygon - A closed plane figure with at least three straight sides and angles, and typically five or more.
  • Acute angle - An angle measuring less than 90 degrees
  • Right angle - A 90 degree angle
  • Obtuse angle - An angle measuring greater than 90 degrees
  • Isosceles triangle - A type of triangle that has at least two sides of equal length
  • Equilateral triangle - A type of triangle in which all three sides are of equal length
  • Scalene triangle - A type of triangle in which all three sides have different lengths
  • Right triangle -  A triangle that has a right angle
  • Parallel lines - Lines that will never touch
  • Perpendicular lines - Lines that intersect forming a 90 degree angle

 

Arts Vocabulary

  • Abstract - Process of art-making that has reference to the real world but is distorted or manipulated in some way.
  • Non-objective - Process of art-making that has no reference to the real world; strictly composed of design elements.
  • Contrast - Exhibiting unlikeness in comparison to something else.
  • 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 (Geometric and Organic) – One of the seven elements of art; a flat, enclosed area that has two dimensions, length and width
  • Negative space - Empty space; the background
  • Color scheme - A limited number of colors used in an artwork
  • Warm colors - Red, pink, orange and yellow
  • Cool colors - Blue, green, purple/violet
  • Primary colors - Blue, yellow, red
  • Secondary colors - Orange, green, purple/violet
  • Neutral colors - Brown, tan, black, gray

 

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Introduce this activity by having students look at an image of “Composition 8” or “Red, Blue and Yellow” by Russian artist, Wassily Kandinsky.
  • Have students engage in the 10 x 2 artful thinking routine.
    • Students will work collaboratively to identify 10 things that they recognize in the image. Then, repeat the process; the second time, however, ask students to focus specifically on the colors and shapes that they see. 
  • Facilitate a class-wide discussion around students’ observations.

 

Work Session

Process 

  • Project Kandinsky’s “Composition 8” and “Red, Blue and Yellow”, side by side (use slide two of Wassily Kandinsky images). Direct students to work collaboratively to use math vocabulary and concepts to describe the angles, lines, and shapes found within these abstract and non-objective masterpieces.
    • Students should draw/write their responses on sticky notes.
    • Direct students to identify the polygons within these images and their defining attributes, including different types of quadrilaterals.
    • Students should also look for examples of types of angles, types of triangles, and line relationships (parallel and perpendicular). 
  • Draw or project a large Venn diagram on the board. Students should place their sticky notes in the appropriate section of the Venn diagram.
  • Next, tell students that they will create their own abstract or non-objective artwork in the style of Kandinsky according to criteria set by the teacher. For example, criteria might include designs including a minimum of three different types of quadrilaterals, a triangle, a polygon more than four sides and angles, two right angles, parallel lines, etc.
  • Project “Composition 8” and “Red, Blue and Yellow” again.
    • Ask students to make observations about how the space is used in the artwork. Students should notice that there isn’t much negative space or “empty space”. 
  • Next, discuss the colors that Kandinsky used.
  • Project an image of a color wheel and discuss different types of color schemes: Warm, cool, neutral, primary and secondary. 
  • Tell students that they will be using color to “color code” their artwork. How they do this is up to them.
    • For example, all triangles could be cool colors, all quadrilaterals could be warm colors, and all polygons with more than four sides could be neutral colors. 
  • Students will then draw their designs lightly on paper or tag board in pencil and then add color using marker, tempera paint, colored pencil, oil pastel, etc.

Upon completion of their artwork, ask students to describe their art using mathematical vocabulary.  

 

 

Closing Reflection

  • Display students’ artwork on walls or place on tables/desks. Give students a “scavenger hunt” to find mathematical concepts in each other’s artwork.
  • See if students can figure out how other students used color in their artwork.

 

 

Assessments

Formative

  • Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion of the mathematical concepts evident in Kandinsky’s artwork, discussion of Kandinsky’s use of color and space, and ability to apply mathematical concepts to creating a unique artwork.

 

Summative

  • Students can create an artwork inspired by Wassily Kandinsky that demonstrates their mastery of mathematical concepts.
  • Students can describe their artwork in terms of mathematical concepts.
  • Students can identify mathematical concepts in each other’s artwork.
  • Students can use color and space intentionally in their art.

 

DIFFERENTIATION 

Acceleration: 

  • Have students identify the area and perimeter of the polygons in their artwork (grade 3).
  • Have students use scrap materials found in the classroom to interpret their artwork in a 3D format by turning it into sculpture. Materials could include popsicle sticks, tape, cardboard, pipe cleaners, straws, etc.

Remediation: 

  • Provide students with specific concepts to look for in Kandinsky’s artwork using a word bank.
  • Reduce/limit criteria in artwork to focus on fewer concepts at a time.
  • Provide visuals with examples of concepts to support students.
  • Allow students to work with a partner to create artwork.

 

 ADDITIONAL RESOURCES

*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: Darby Jones. Updated by Shannon Green and Katy Betts.

 Revised and copyright:  August 2024 @ ArtsNOW

Back to Modules