All In A Row, Adding In A Row 1

ALL IN A ROW

Addition Tableau

ALL IN A ROW: ADDITION TABLEAU

Learning Description

Students will represent numbers with their bodies. They will work together to form addition sentence tableaux in order to visualize how 1-, 2-, and 3-digit addition works.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can play a role in an addition tableau.

Essential Questions

  • How can the arts help to clarify mathematics concepts?

 

Georgia Standards

Curriculum Standards

Grade 1:

MCC1.OA.6 Add and subtract within 20, demonstrating fluency for addition and subtraction within 10. Use strategies such as counting on; making ten (e.g., 8 + 6 = 8 + 2 + 4 = 10 + 4 = 14); decomposing a number leading to a ten (e.g., 13 – 4 = 13 – 3 – 1 = 10 – 1 = 9); using the relationship between addition and subtraction (e.g., knowing that 8 + 4 = 12, one knows 12 – 8 = 4); and creating equivalent but easier or known sums (e.g., adding 6 + 7 by creating the known equivalent 6 + 6 + 1 = 12 + 1 = 13).

Arts Standards

Grade 1:

TAES1.3 Acting by developing, communicating, and sustaining roles within a variety of situations and environments.

 

South Carolina Standards

Curriculum Standards

Grade 1:

1.NSBT.1.c. Read, write and represent numbers to 100 using concrete models, standard form, and equations in expanded form1.NSBT.4 Add through 99 using concrete models, drawings, and strategies based on place value to: a. add a two-digit number and a one-digit number, understanding that sometimes it is necessary to compose a ten (regroup)

Arts Standards

Grade 1:

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

 

Key Vocabulary

Content Vocabulary

Place Value - The value of where the digit is in the number, such as units, tens, hundreds, etc.

Arts Vocabulary

Statue (Statues) - An actor frozen in a pose.

Tableau (Tableaux) - A group of actors frozen to create a picture.

 

Materials

Plus (+) and equal (=) sign placards that can stand on the floor (one possibility – written with marker on an inverted file folder - or part thereof – and capable of standing like a tent).

 

Instructional Design

Opening/Activating Strategy

Letter Statues
Introduce or review what a statue is – an actor in a frozen pose. Explain that the students will make letter statues with their bodies. Call out one letter at a time and have them make the letters. Use a drum, another percussion instrument, or clapping to cue the statues. Encourage students to be creative, using full body, limbs, fingers, etc., and exploring the possibilities of standing, kneeling, sitting, lying down, etc., as appropriate for the classroom space. Use observational language to comment on the different ways in which students use their bodies to create the statues.

 

Work Session

Number Statues

  • Repeat the process with numbers (single digits). After exploring multiple possibilities, inform students that they will focus on making number statues that use their whole bodies, and for which they will remain standing. Practice standing number statues.
  • Ask students how they would make a statue of a number up to 100. Elicit from them, or guide them to, the idea of working in pairs or trios.
  • Introduce or review what a tableau is – a group of actors frozen in a picture. Explain that tableaux often create pictures with characters and settings, but the tableaux today will be of numbers and number sentences.
  • Invite two, and then three, volunteers to model creating a tableaux up to 100. Ask students what each digit in a multiple-digit number represents. Introduce or review the concept of place value. Ensure that students understand that the digit to the left represents a higher place value than the digit to the right, and identify the units: ones, tens, and hundreds places.
  • Have students work in pairs to create a 2-digit number tableau (full-body, standing). Have them work together to say the name of the number together out loud. After creating a number, have them switch positions and say the name of the number with the digits switched. Move among the pairs to confirm that they are expressing each number correctly.
  • If students have grasped the 2-digit numbers and are ready for 3-digit numbers, have them repeat the process in trios. Each trio can explore all the possibilities with their three digits (if the digits are all different, e.g., 1, 2, and 3, there will be six permutations: 123, 132, 213, 231, 312, 321.)
  • Introduce the idea of moving from number tableaux to addition sentence tableaux.
  • Invite three students to model a simple addition sentence tableau, e.g., 3 + 4 = 7. Have the students assume their positions, and then have them speak the sentence together. (Note: this is an opportunity, if relevant, to introduce or reinforce the Commutative Property of addition by having the addends switch places.)
  • Provide plus and equal sign tent cards and have students work in trios to create addition sentence tableaux.
  • Use the same process, first modeling and then having the students work in small groups, to move into more complex addition sentences: adding two 1-digit numbers that result in a 2-digit sum (e.g., 5 + 7 = 12), adding a 1- and a 2- digit number together, without and then with sums that require making a new ten (e.g., 31 + 7 = 38, and then 29 + 3 = 32), and then adding two 2-digit numbers, without and then with sums that require carrying to the tens and hundreds places (e.g., 45 + 12 = 57, then 24 + 19 = 43, then 74 + 38 = 112).

Teaching Tips:

  • As appropriate to the class, use established addition strategies (counting on, making ten, etc.) to calculate sums, and advance only as far in the sequence of complexity as the class can manage.
  • This may be a lesson that is done over time. The first step may best be suited for when single digit addition is taught, then adding 2-digit addition as the concept is taught, and so on.

 

Closing Reflection

Ask students: How did you use your bodies to create letter and number statues and addition sentence tableaux? Which were more challenging, letter statues or number statues? How do we determine the name and value of a 2- or 3-digit number? How did you determine your place or role in the number sentence?

 

Assessments

Formative

  • Students should be able to calculate answers to the mathematical problems.
  • Students should accurately represent the numbers with their bodies.

 

Summative

Assign various addition problems to the students at the level reflected in the lesson, and gauge their ability to visualize and complete the problems.

 

Differentiation

Acceleration: Acceleration and remediation are built into the lesson in terms of how far into the sequence of complexity the lesson goes, and how much students are asked to create and calculate the numbers and addition sentences on their own. For acceleration, there should be greater complexity and more independent (unguided, in pairs, trios, quads, and more) work.

Remediation: Acceleration and remediation are built into the lesson in terms of how far into the sequence of complexity the lesson goes, and how much students are asked to create and calculate the numbers and addition sentences on their own. For remediation, there should be less complexity, more modeling, and more full-class, guided work.

*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: Mary Gagliardi and updated by Barry Stewart Mann

Revised and copyright: August 2022 @ ArtsNOW

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Creating a Compelling Story From Music

CREATING A COMPELLING STORY FROM MUSIC

CREATING A COMPELLING STORY FROM MUSIC

Learning Description

Encourage your students to exercise their imaginations and write with courage and conviction. Using music from a wide variety of cultures, students will develop good listening skills and write from the heart using their own voices. This aural exercise will help students think creatively.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • Compose an original story inspired by a piece of music.

Essential Questions

  • Essential Question: How can music be used to inspire narrative writing?

 

Georgia Standards

Curriculum Standards

Kindergarten:

ELACCKW3 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened.

 

Grade 1:

ELACC1W3 Write narratives in which they recount two or more appropriately sequenced events, include some details regarding what happened, use temporal words to signal event order, and provide some sense of closure.

Arts Standards

Kindergarten:

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

 

Grade 1:

ESGM1.RE.1 Listen to, analyze, and describe music.

 

South Carolina Standards

Curriculum Standards

Kindergarten:

K.MCC.3.1 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, to tell about the events in the order in which they occurred, and to provide a reaction to what happened. 

 

Grade 1:

1.MCC.3.1 Explore multiple texts to write narratives that recount two or more sequenced events, include details, use temporal words to signal event order, and provide a sense of closure.

Arts Standards

Anchor Standard 6: I can analyze music.

 

Key Vocabulary

Content Vocabulary

Character - A person, or animal or other entity that has human characteristics, in a story.

Setting - Where and when a story takes place.

Event - A happening, something that occurs in a story.

Detail - A small, interesting part of a larger whole.

Title - The name of a creative work.

Arts Vocabulary

Dynamics - The volume of sound; how loud or soft it is.

Pitch - How high or low a note sounds.

Tempo - The speed at which a musical piece is played; how fast or slow.

Duration - The length of time a sound lasts; how long or short.

Timbre - The quality of a sound (round, brassy, sharp, bright).

Form - The structure or pattern in music; how the sounds are put together.

Rhythm - A pattern of sound which can be repeated to a regular beat.

 

Materials

  • Pencils
  • Crayons
  • Paper
  • Audio recordings
  • Sound source (CD Player, iPod, etc.) - 3-5 selections of instrumental music
  • Photographs and prints (optional)

 

Instructional Design

Opening/Activating Strategy

Warm-Up:  Moving to Music

  • Tell the students they are going to have a chance to move to music.  In order to stay safe, remind them to stay in their own personal space.  Have students stand by their desks or tables, or spread them around the room.  Have them keep their feet in one spot, and then stretch out their arms all around; if their hands or arms touch each other, reposition them, or have them reposition themselves, so that each student has ample personal space.
  • Tell students you are going to play instrumental music – just instruments, no words or singing - and as they listen they can sense how it makes them feel, and then move accordingly.  Remind them they must stay in their assigned places, and move only in their own personal space.
  • Put on a selection of instrumental music, possibly from another culture.
  • Model different ways of moving to the music, describing as you do (e.g, “I am waving my arms slowly,” or “This part makes me want to go up on my toes”) and encourage students to move in their own ways.  Possibly, use observational language to comment on some student choices (e.g., “I see Arianna swaying gently,” “Terrence is shaking his knees very quickly”).
  • After the activity, reflect by asking the students how they felt moving to the music, and why they made some of the movement choices they made.  Ask if the music made them imagine particular kinds of people, animals, places, times of day, weather, landscapes, etc.  Perhaps share some ideas of your own (e.g., “I imagined a teenage girl in a long blue dress.  I imagined a big rock along the seashore.”)

 

Work Session

  • Ask students to describe, in general, what we hear when we hear music, and how pieces of music are different from one another (e.g., some are faster, some have loud drums, some are sad, some have quiet parts).  Lead them to discussion of various elements of music – dynamics, tempo, pitch, duration, melody, etc.  Talk about the extremes in each (loud/soft, fast/slow, etc.)
  • Explain that students will listen to another piece of instrumental music.  This time, they will not move, but should listen for the musical elements, and think about the images these elements create in their minds.
  • Play a different piece of instrumental music, ideally one that contrasts the piece used in the opening activity.  Encourage students to listen with their eyes shut.
  • Tell students that they will be creating/composing original stories in response to the music.  Post and review with the students the following questions:
    • What is the title of my story? 
    • Where does my story take place? 
    • When does my story take place? 
    • Who are the characters? 
  • Give students paper and writing/drawing utensils.  Depending on the teacher’s goals and the students’ skill level, students can write and/or draw to create their stories.
  • Play the music again.  Ask the students to listen carefully again and to write or draw answers to the questions.
  • Repeat the process with two or three more contrasting pieces of instrumental music.  Have students create an idea page for each.
  • Have each student choose their favorite piece of music and compose a story that includes the title, setting, characters, and events inspired by the music.  Encourage them to include details.
  • Have students share their stories in pairs or trios.  Possibly, have volunteers share their stories in front of the entire class.  If they can speak loud enough, possibly play the selection of music softly as they are reading/telling their story.

 

Classroom Tips:

  • A wide range of music is best (e.g. Native American, Scandinavian, African, Asian, Latin American, flute, international jazz, violin, saxophone, harp); avoid using music familiar to or easily identified by students.

Closing Reflection

Ask students:  How did the music inspire story ideas in your mind?  Which elements of the music were most important to you in creating your story?  What did you like about this activity?  What was easy or hard about this activity?

 

Assessments

Formative

  • Students participate actively in the warm-up.
  • Students cite the elements of music in their reflections on their music-listening and story composition.
  • Students use their time efficiently to write or draw ideas for their stories.

 

Summative

Student stories as written or drawn show clear evidence of having characters, settings, events, and titles.

 

Differentiation

Acceleration: 

Add in the concepts of conflict/problem (“a challenge that the main character faces and must resolve”) and/or protagonist and antagonist (“the main character in the story,” and “the character who is opposed to or in conflict with the main character”) as elements that the students must clearly develop in their stories. 

Remediation: 

Work as a full class to develop the first story.  Then develop more stories as a full class, or have students work in small groups. 

Take care to choose musical selections that are not too challenging or jarring.

 ADDITIONAL RESOURCES

  • Putumayo World Music can be accessed at Putumayo.com, or accessed through streaming services like Spotify or Apple Music.
  • Longer loops in GarageBand or similar apps can be useful.
  • A search of “World Music” will bring up links to YouTube videos that feature varieties of multicultural instrumental music.

*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:  Janice Akers
Modifications, Extensions, and Adaptations Contributed by: Peggy Barnes, Candy Bennett, Lindsey Elrod, Jennifer Plummer, Vilma Thomas, and Barry Stewart Mann.

 Revised and copyright:  Date updated @ ArtsNOW

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