Link it Up Plane Figure Word Chains K-2

Description

Through composition of word chains describing plane figures, students will develop skills and understandings in mathematics and music. Teamwork and creativity are necessary to create an interesting word chant that demonstrates understanding and identification of plane figures. Musical skills addressed include improvising, composing, listening, speaking, playing instruments, and moving.

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Literature and Composition 3-5

Description

Drawing evidence from informational text and using it to compose text for the rondo form in music, students have the opportunity to see their research come to life in composition. The process of creating and organizing the new text and rhythms for the rondo, combined with the presentation of the finished product, allows the student to demonstrate that music and literature go “hand in hand”.

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Lively Limericks 2-3

LIVELY LIMERICKS

LIVELY LIMERICKS

Learning Description

In this lesson, students will use limericks to explore both language arts and music skills at the same time, focusing on rhythm and rhyme to delve into poetry!

 

Learning Targets

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

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"I Can" Statements

“I Can…”

  • I can speak limerick texts rhythmically.

  • I can create an original limerick text using appropriate form and rhyme scheme. 

  • I can add musical elements to my limerick.

  • I can identify and create rhyme schemes.

Essential Questions

  • How can limericks enhance musical literacy as well as creative writing skills?

 

Georgia Standards

Curriculum Standards

Grade 2: 

ELAGSE2RL4 Describe how words and phrases (e.g., regular beats, alliteration, rhymes, repeated lines) supply rhythm and meaning in a story, poem, or song.

 

ELAGSE2RL10 By the end of the year, read and comprehend literature, including stories and poetry, in the grades 2-3 text complexity band proficiently, with scaffolding as needed at the high end of the range.

 

ELAGSE2RF4 Read with sufficient accuracy and fluency to support comprehension. 

  1. Read on-level text orally with accuracy, appropriate rate, and expression on successive readings.

 

Grade 3: 

ELAGSE3RL4 Determine the meaning of words and phrases both literal and nonliteral language as they are used in the text.

 

ELAGSE3RL10 By the end of the year, read and comprehend literature, including stories, dramas, and poetry, at the high end of the grades 2-3 text complexity band independently and proficiently.

 

ELAGSE3RF4 Read with sufficient accuracy and fluency to support comprehension. 

  1. Read on-level prose and poetry orally with accuracy, appropriate rate, and expression on successive readings.

Arts Standards

Grade 2:

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

 

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.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:

ELA.2.F.4.2 Read texts orally and silently with accuracy, appropriate rate, expression, and intonation. 

 

ELA.2.AOR.5.1 Describe the basic structure of a literary text (e.g., narrative, drama, and poem). 

 

Grade 3: 

ELA.3.F.4.2 Read a variety of texts orally and silently with accuracy, appropriate rate, expression, and intonation. 

 

ELA.3.AOR.8.1 Determine an author’s use of words and phrases in grade-level literary, informational, and multimedia texts: 

  1. distinguish between literal and nonliteral meanings of words and phrases (e.g., take steps)

Arts Standards

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

  • Limerick - A five-line poem with a strict form and humorous content 

 

  • Rhyme - The repetition of similar sounds

  • Rhythm - The pattern of stressed and unstressed syllables in a line or verse, creating a flow or beat
  • Rhyme scheme - The pattern of rhymes at the end of lines in a poem

Arts Vocabulary

  • Body Percussion - Sounds produced by striking or scraping parts of the body; typically includes snapping, clapping, patting, and stamping

  • Choral reading - Voices read together, using same rhythm, tempo, and expressive elements (as opposed to individual or small group reading)
  • Form - The structure of a composition; based on repetition, contrast, and variation
  • Found sound - Non-typical sound producers used as instruments (e.g., striking a desk with a pencil)
  • Unpitched percussion - Percussion instrument whose sound is typically produced by shaking, striking, or scraping and does not produce a specific pitch; includes shakers (maracas), drums (bongos, hand drums, congas), woods (claves, rhythm sticks, woodblocks, etc.), and metals (triangle, cowbell, finger cymbals)
  • Ostinato - A repeated pattern
  • Timbre - The quality of sound; component of a sound that causes different instruments to sound different from each other
  • Texture - Thickness or thinness of sound; impacted by the number and relationship of parts

 

Materials

  • Examples of limericks 
  • Various unpitched percussion instruments (can be found sound objects)
  • Pencil and paper

 

Instructional Design

Opening/Activating Strategy

  • Display the following limerick and invite individual students to read it. 
  • Explore rhythmic and non-rhythmic options for reading the limerick.

There was an old man of Peru [a] 

Who dreamed he was eating his shoe. [a] 

He awoke in the night in a terrible fright,  [b] 

And found it was perfectly true. [a]

 

Work Session

  • Lead students to understanding of limericks’ salient features: Rhythmic text (words can be read in rhythm), form (four 4-beat phrases = 16 beats), rhyme scheme (a a b a; “b” section also includes an internal rhyme scheme), and nonsensical text. 
  • Explore various ways of keeping the beat while speaking the poem. 
  • Explore various ways of performing the limerick, such as solo versus choral reading, putting the rhythm of the words in body percussion, using different body percussion or voices for rhyming words, using unpitched percussion instruments or found sound to play the poem, etc.
    • Discuss how the texture and timbre changes in each version.
  • Try different variations on the limerick, such as:
    • Transfer speech to unpitched percussion or found sound.
    • Using words from the limerick, challenge students to create speech ostinato (e.g., shoe, shoe, the man ate his shoe).
  • Divide students into groups and challenge students to create original limericks.
    • Students should decide on a means of performing their original compositions incorporating speech, body percussion, and/or unpitched percussion.

 

Closing Reflection

  • Students will perform their limericks for the class. Discuss appropriate audience participation and etiquette prior to performances.
  • Audience should identify the rhyming words and rhyme scheme in the performances.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to identify elements of a limerick, ability to read a limerick rhythmically, ability to incorporate body percussion and unpitched instruments into reading performances, and collaboration with group members to create an original limerick.

 

Summative

CHECKLIST

  • Students can speak limerick text together rhythmically. 
  • Students can create original limerick texts using appropriate form and rhyme scheme. 
  • Students can add musical elements to their limericks (e.g., speech ostinato, body percussion ostinato, delineation of rhyming words, etc.).
  • Students can identify and create rhyme schemes.

 

DIFFERENTIATION 

Acceleration: 

  • Students create limericks incorporating other criteria, such as homophones or writing about a given topic, etc.
  • Students can write about compositional and performance experience. 
  • Students can create movement compositions illustrating the same form (for example, A A B A).

Remediation: 

  • Create a collaborative class limerick together rather than having students work in groups to create their own.
  • Create a class list of rhyming words for students to choose from when creating their limericks.
  • Rather than having students write a limerick, have individual groups perform prewritten limericks. Students should identify the rhyming words and rhyme scheme in the text.
  • During the performances, have the audience use body percussion to set the steady beat and have the performing group speak their limerick rhythmically giving them the option to participate with the body percussion the class has set.

 

*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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Money Time K-2

Description

Using rhythmical experiences in music, the students will explore numbers and their relationships. Every aspect of music can be described mathematically. An understanding of patterns, the ability to develop operations, reveal functions, and being able to move toward higher levels of abstractions, can be strengthened through parallel music study. Dividing beats and meters: patterns; and starting the same patterns at different times to create canons: developing operations will be explored in this lesson.

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Moving with Mathematics 4-5

MOVING WITH MATHEMATICS

MOVING WITH MATHEMATICS

Learning Description

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

 

Learning Targets

GRADE BAND: 4-5
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 and percentages.
  • I can identify the fraction/percentage and movement type in performances.

Essential Questions

  • How can movement and choreography enhance understanding of fractions, decimals, and percentages?

 

Georgia Standards

Curriculum Standards

Grade 4: 

4.NR.4: Solve real-life problems involving addition, subtraction, equivalence, and comparison of fractions with denominators of 2, 3, 4, 5, 6, 8, 10, 12, and 100 using part-whole strategies and visual models.

 

4.NR.5: Solve real-life problems involving addition, equivalence, comparison of fractions with denominators of 10 and 100, and comparison of decimal numbers as tenths and hundredths using part-whole strategies and visual models.

 

Grade 5: 

5.NR.3: Describe fractions and perform operations with fractions to solve relevant, mathematical problems using part-whole strategies and visual models.

Arts Standards

Grade 4: 

ESD4.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD4.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD4.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD4.RE.1 Demonstrate critical and creative thinking in dance.

 

Grade 5:

ESD5.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD5.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD5.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD5.RE.1 Demonstrate critical and creative thinking in dance.

 

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 <.

 

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 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
  • Percentage - A way to express a number as a fraction of 100

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 Strategy

  • 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 or percentages (i.e., 50% of eight beats is four beats, 25% of eight beats is two beats, 3/4 of four beats, 1/4 of four beats, etc).
    • Guide students in choreographing a dance in which 50% or 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.
      • Example 1: Create a four-step dance combination that is 3/4 non-locomotor movement and 1/4 locomotor movement.
      • Example 2: Create a 32 beat dance in which 25% of your dance must be locomotor movement, 50% of your dance must be locomotor, and 25% of your dance must combine locomotor and non-locomotor movements.
      • Students should express their choreography math equation using >, <, or =.

 

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, percentages, or decimal equivalents 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 percentages, 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/percentage 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 or percentages 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

 

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