SING ME A STORY K-1

SING ME A STORY

SING ME A STORY

Learning Description

In this lesson, students will explore how music contributes to the meaning of a story through the use of storybooks that were inspired by songs.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use musical vocabulary to explain what I hear in a song.
  • I can use good posture, breath support, and accurate pitch while singing.

Essential Questions

  • How does analyzing and evaluating music help me understand its meaning?
  • How can I use my voice to express emotions and communicate a message?

 

Georgia Standards

Curriculum Standards

Kindergarten:

K.P.AC.1.d Describe, analyze, and evaluate the design and organization of the text, explaining how specific formats, structures, patterns, and features influence the audience, contribute to the text’s accessibility, and support the text’s purpose.

 

Grade 1:

1.P.AC.1.d Describe, analyze, and evaluate the design and organization of the text, explaining how specific formats, structures, patterns, and features influence the audience, contribute to the text’s accessibility, and support the text’s purpose.

Arts Standards

ESGM.PR.1 Sing a varied repertoire of music, alone and with others.

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

ESGM.RE.2 Evaluate music and music performances.

ESGM.CN.2.c Describe and demonstrate performance etiquette and appropriate audience behavior.

 

South Carolina Standards

Curriculum Standards

Kindergarten:

ELA.K.AOR.10.1 Describe the relationship between visuals (e.g., illustrations, photographs) and the text.

 

Grade 1:

ELA.1.AOR.10.1 Use visuals (e.g., illustrations, photographs) to describe the key or supporting details in a text.

Arts Standards

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

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

 

Key Vocabulary

Content Vocabulary

  • Determine and explain - Find out and make clear by describing
  • Compare and contrast - Identify what is similar; what is different
  • Texts - Can include, but is not limited to, materials such as books, magazines, newspapers, movies, paintings, television shows, songs, political cartoons, online materials, advertisements, maps, digital media, infographics, podcasts, charts, graphs, diagrams, notes, captions, lab reports, scenarios, and works of art

Arts Vocabulary

  • Lyrics - Words to a song
  • Instrumental - Music with instruments and no lyrics or singing
  • Pitch - The highness or lowness of sound
  • Rhythm - Long and short sounds and silences
  • Dynamics - Loud and soft sounds; volume
  • Tempo - The speed of the beat
  • Timbre -The distinctive quality of sounds; the tone color or special sound that makes one instrument or voice sound different from another
  • Form - The organization of a piece (how the music is put together)
  • Articulation - How a performer moves from one note to the next; how notes are connected or not

 

Materials

  • Projection board with internet access
  • Implements for completing writing assignments
  • Graphic organizer for comparison
  • Printed song lyrics
  • Song recording
  • Story book
  • Harvard Project Zero Thinking Routines

 

 

Instructional Design

Opening/Activating Strategy

Hear, Think, Wonder (modification of See, Think, Wonder Harvard Project Zero Thinking Routine)

  • Prepare students for a “Hear, Think, Wonder” listening activity by telling students they are going to listen to a song excerpt (do not reveal title yet!) (**Song and book suggestions are in the Additional Resources section of the lesson plan) and answer three prompts. Students will need implements for documenting their responses. **Make sure only the music is played without showing the accompanying video! This practice allows deeper analysis of the musical sounds!
    • “I hear”: What sounds are heard, not what they think they hear. Musical sounds can include pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different [contrasting]), articulation (smooth/detached).
    • “I think”: What does the music make you think about? Draw an appropriate image that the music makes you think about.
    • “I wonder”: What “wonderings” do you have? Wonderings are generally questions.
  • Students listen without talking the first time and answer the first prompt (I hear) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students listen without talking a second time and answer the second prompt (“I think” and draw) using words and images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share responses with the class.
        • Restate students’ responses. All responses are acceptable.
        • Ask students, “What did you hear in the music to make you think about …?” or “What did you hear in the music to make you draw…?” to encourage deeper connections to the music.
      • Discuss how students’ drawings help them understand the song’s meaning.
      • Students listen without talking a third time and answer the third prompt (I wonder) using words or images. **The “I think” and I wonder” prompts can be combined into one listening event instead of two separate events.
        • Tell students “Turn and Talk” about their responses with a neighbor.
        • Call on students to share responses with the class.
          • Restate students’ responses. All responses are acceptable.
        • Tell students that they are going to be learning how images, words, and music contribute to the meaning of text.

Work Session

  • Project the lyrics of the song they just listened to. Read a selection, such as a verse or a chorus, out loud.
  • Discuss:
    • What message do the lyrics tell?
    • What words or phrases stand out?
    • Discuss how the images help tell the message.
  • Play the full audio version of the song with lyrics. Students listen without talking and answer “How does hearing the music with lyrics add to your understanding of the message?”.
    • Tell students to “Turn and Talk” about their responses with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Play the song with lyrics again while students sing along. Teacher reminds students to demonstrate good posture, breath support, and accurate pitch while singing.
    • Display the storybook that accompanies the song. Tell students that the book was inspired by the song.
      • Play the song version of the book the first time while students listen and watch.
      • Play the song version of the book a second time and encourage students to sing along. Teacher reminds students to demonstrate good posture, breath support, and accurate pitch while singing.
    • Ask students how the visuals in the book help students understand the song’s meaning.
      • Document responses on the board.
    • Ask students which format (printed lyrics only, song with lyrics, illustrations in the book accompanied with music) did they prefer? Why?
    • Students document their responses then share their responses with the class.

 

Closing Reflection

  • Have students respond to the following questions: What does the song mean? How did the different formats help you understand the song?

 

Assessments

Formative

  • Teacher observation of students’ engagement and participation in “Turn and Talk”, class discussions, and singing
  • Responses to Hear, Think, Wonder

Summative

  • Responses to reflective and discussion questions

 

 

Differentiation

Accelerated: 

  • Students can create their own short song story with illustrations.
  • Have students respond in written form to prompts.

 

Remedial:

  • Provide sentence stems.
  • Allow multiple listenings to the music.
  • Allow students to draw images for responses instead of words.
  • Allow students to work with a partner.

 

Additional Resources

 

Credits

Ideas contributed by: Dr. Rue S. Lee-Holmes

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION 9-12

THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION

THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION

Learning Description

In this lesson, students will explore how different multimedia formats contribute to the presentation of a song and its message.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can analyze how different multimedia formats change the way a message is presented and understood.
  • I can compare the strengths and weaknesses of print text, digital text, film, image, and performance in conveying information.
  • I can evaluate how audience perception is influenced by the choice of multimedia format.
  • I can use musical vocabulary to explain what I hear in a ballad.
  • I can use good posture, breath support, and accurate pitch while singing.

Essential Questions

  • How do different multimedia formats (print text, digital text, film, image, performance) influence the way an idea or topic is understood?
  • What are the advantages and disadvantages of using various multimedia formats to present information?
  • How can I use my voice to express emotions and communicate a message?

 

Georgia Standards

Curriculum Standards

9th Grade Literature and Composition:

ELAGSE9-10SL2 Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

 

10th Grade Literature and Composition:

ELAGSE9-10SL2 Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

Arts Standards

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

HSMA.CR.3 Evaluate and refine musical ideas.

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

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

HSMA.RE.2 Evaluate music and music performances.

HSMA.CN.2 Understand music in relation to history and culture.

 

South Carolina Standards

Curriculum Standards

English I:

ELA.E1.AOR.10.1 Explain the advantages and disadvantages of using different multimedia

(e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English II:

ELA.E2.AOR.10.1 Analyze the advantages and disadvantages of using different multimedia

(e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English III:

ELA.E3.AOR.10.1 Evaluate the advantages and disadvantages of using different multimedia (e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English IV:

ELA.E4.AOR.10.1 Evaluate and critique the advantages and disadvantages of using different multimedia (e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

Arts Standards

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

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

 

Key Vocabulary

Content Vocabulary

  • Analyze - To study something closely and carefully
  • Evaluate - To study carefully and make a judgement
  • Multimedia - Using different types of media, like pictures, videos, sounds, and words, all together to tell a story or share information
  • Text - Can include, but is not limited to, materials such as books, magazines, newspapers, movies, paintings, television shows, songs, political cartoons, online materials, advertisements, maps, digital media, infographics, podcasts, charts, graphs, diagrams, notes, captions, lab reports, scenarios, and works of art

Arts Vocabulary

  • Lyrics - Words to a song
  • Pitch - The highness or lowness of sound
  • Rhythm - Long and short sounds and silences
  • Dynamics - Loud and soft sounds; volume
  • Tempo - The speed of the beat
  • Timbre - The distinctive quality of sounds; the tone color or special sound that makes one instrument or voice sound different from another
  • Form - The organization of a piece (how the music is put together)
  • Articulation - How a performer moves from one note to the next; how notes are connected or not

 

Materials

  • Projection board with internet access
  • Implements for completing writing assignments
  • Graphic organizers (optional)
  • Printed song lyrics
  • Audio recordings
  • Music video (if available)
  • Album art
  • Harvard Project Zero Thinking Routines

 

 

Instructional Design

Opening/Activating Strategy

  • Think, Pair, Share: Pose the following question–How does the format of a song (text, audio, video or performance) influence its impact?
    • Allow students a few minutes to think individually and document their thoughts by using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class. All responses are acceptable.

Work Session

  • Review the five multimedia formats that include print text, digital text (audio), film (music video), image (album art), and performance (live or staged).
    • Discuss how each format affects perception, engagement, and understanding of the medium.
  • Choose a song to complete a song analysis. (**Song suggestions are in the Additional Resources section of the lesson plan.)

 

See, Think, Wonder (Harvard Project Zero Thinking Routine)

  • Prepare students for a “See, Think, Wonder” reading activity by telling students they are going to read the song lyrics (using an excerpt is acceptable) and answer three prompts.  Students will need implements for annotating their responses.
    • “I see”: What do you see? What words or phrases stand out to you?
    • “I think”: What do you think the lyrics are about? What do you think about while reading the lyrics?
    • “I wonder”: What do the lyrics make you wonder? What questions do you have?
  • Provide students with individual copies of the lyrics to read individually or as a group.
  • Have students answer the first prompt (I see) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students will read the lyrics a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable. Ask students, “What did you read in the ballad poem to make you think about …?” to encourage deeper connections to the written text.
    • Students will read the lyrics a third time and answer the third prompt (I wonder) using words or images. **The “I think” and “I wonder” can be combined.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.

 

Music Analysis: Hear, Think, Wonder

  • Prepare students for a “Hear, Think, Wonder” listening activity. This is a modification of the Project Zero “See, Think, Wonder” Thinking Routine activating strategy. **Make sure only the music is played without showing the accompanying video! This practice allows deeper analysis of the musical sounds!
  • Tell students they are going to listen to the song (or an excerpt) and answer three prompts:
    • “I hear”: What sounds are heard. Musical sounds can include pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different [contrasting]), articulation (smooth/detached).
    • “I think”: What does the music make you think about?
    • “I wonder”: What “wonderings” do you have? Wonderings are generally questions.
  • Students listen without talking the first time and answer the first prompt (I hear) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students will listen without talking a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
        • Ask “What did you hear in the music to make you think about …?” to encourage deeper connections to the music.
      • Students listen without talking a third time and answer the third prompt (I wonder) using words or images. **The “I think” and I wonder” prompts can be combined into one listening event instead of two separate events.
        • Tell students to “Turn and Talk” about their responses with a neighbor.
        • Call on students to share their responses with the class.
          • Restate students’ responses. All responses are acceptable.
        • Discuss any changes in interpretation with the addition of musical sounds.

 

Music Analysis: See, Hear, Think, Wonder (combination of two Harvard Project Zero Thinking Routines See, Think, Wonder and Hear, Think, Wonder)

  • Prepare students for a “See, Hear, Think, Wonder” activity by telling students they are going to watch a music video of the song (using an excerpt is acceptable) and answer four prompts. Students will need implements for annotating their responses.
    • “I see”: What do you see? What images or scenes stand out for you?
    • “I hear”: What sounds are heard. Musical sounds can include pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different [contrasting]), articulation (smooth/detached).
    • “I think”: What do you think is the message of the video? What did you think about while watching the video?
    • “I wonder”: What does the video make you wonder? What questions do you have?
  • Students answer the first prompt (I see) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students watch and listen without talking a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
        • Ask students, “What did you hear in the music to make you think about …?” to encourage deeper connections to the music.
      • Students watch and listen, without talking, a third time and answer the third prompt (I wonder) using words or images. **The “I think” and I wonder” prompts can be combined into one listening event instead of two separate events.
        • Tell students to “Turn and Talk” about their responses with a neighbor.
        • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
      • Discuss how visual storytelling changes or enhances interpretation.

 

Performance

  • Students will use the lyric sheet to sing along with the recording. Singing along with the instrumental version adds an additional challenge.
    • Teacher will remind students to demonstrate good posture, breath support, and accurate pitch while singing.

 

Group Discussion

  • Divide students into small collaborative groups. Using a graphic organizer might help students organize their thoughts and discussion.
    • Possible questions include:
      • Which format was most effective in conveying the song’s message? Why?
      • How did each format alter the perception of the song?
      • What are the limitations of each medium?
    • Conduct a whole-class share out and discussion.
    • Finally, students will write a comparative analysis essay evaluating the advantages and disadvantages of two multimedia formats in presenting the song’s message.

 

Closing Reflection

  • Have students sing the song together.
  • Students will complete an exit ticket: Which format of the song do you think was most effective and why?
  • Students share one takeaway about how multimedia influences meaning in literature and music.

 

Assessments

Formative

  • Exit ticket: Which format of the song do you think was most effective and why?
  • Responses to thinking routines (See, Think, Wonder; Hear, Think, Wonder; See, Hear, Think, Wonder)
  • Teacher observations

Summative

  • Students write a comparative analysis essay evaluating the advantages and disadvantages of two multimedia formats in presenting the song’s message.

 

 

Differentiation

Accelerated: 

  • Compare how different multimedia formats are used in other art forms, such as poetry or film adaptations of books.

 

Remedial:

  • Use graphic organizers.
  • Provide guided notes or sentence starters for discussion.
  • Provide discussion questions.
  • Use partner reading or small-group support for comprehension.

 

Additional Resources

Suggested Song Titles:

  • “Living on a Prayer” sung by Bon Jovi
  • “Julie” sung by Rhiannon Giddens
  • “Man of Constant Sorrow” sung by The Soggy Bottom Boys

 

Credits

Ideas contributed by: Dr. Rue S. Lee-Holmes

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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THE BLUES (OR NOT-SO-BLUE BLUES) 9-12

THE BLUES (OR NOT-SO-BLUE BLUES)

THE BLUES (OR NOT-SO-BLUE BLUES)

Learning Description

Using a twelve-bar blues form, students will create music expressing the blues (or “not the blue blues”) about selected subject content.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: MUSIC & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write lyrics about assigned content using a prescribed form.
  • I can play blues harmony.
  • I can combine music and language to express feelings and ideas.

Essential Questions

  • How can music express feelings and ideas?
  • How can music and language be combined to express feelings and ideas?

 

Georgia Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Biology I:

SB1 Obtain, evaluate, and communicate information to analyze the nature of the relationships between structures and functions in living cells.

 

Botany:

SBO4 Obtain, evaluate, and communicate information to analyze the impact of plant diseases and pests on plant defense systems and agriculture.

 

Earth Systems:

SES2 Obtain, evaluate, and communicate information to understand how plate tectonics creates certain geologic features, landforms, Earth materials, and geologic hazards.

Arts Standards

HSMA.CR.3 Evaluate and refine musical ideas.

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

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

HSMA.RE.2 Evaluate music and music performances.

HSMA.CN.2 Understand music in relation to history and culture.

 

South Carolina Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Biology:

B-LS2-1. Use mathematical and/or computational representations to support explanations of biotic and abiotic factors that affect carrying capacity of ecosystems at different scales.

B-LS4-4. Construct an explanation based on evidence for how natural selection leads to adaptation of populations.

 

Chemistry:

C-PS1-5. Apply scientific principles and evidence to provide an explanation about the effects of changing the temperature or concentration of the reacting particles on the rate at which a reaction occurs.

 

Earth and Space Science:

E-ESS1-3. Construct an explanation using evidence to explain the ways elements are produced over the life cycle of a star.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

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

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

 

Key Vocabulary

Content Vocabulary

Non-ELA vocabulary will vary depending on selected content for blues compositions.

Arts Vocabulary

  • Beat - The pulse underlying music
  • Blues music - A genre that evolved from folk music of African Americans in the American South (work songs, field hollers, and spirituals) during the late 1800s
  • Body percussion - Using the body as an instrument; includes patting, clapping, stamping, and snapping
  • Chord - A combination of three or more pitches played at the same time
  • Chord progression - A sequence of chords
  • Form - The organization of a piece (how the music is put together)
  • Harmony - Two or more pitches sounding simultaneously
  • Key - The group of pitches (scale) around which a piece of music revolves
  • Measure - The space between two bar lines
  • Phrase - Musical sentence

 

Materials

  • Boomwhackers (or other pitched instruments)
  • Writing materials (e.g., pencil and paper)
  • Recording of blues music (see suggestions below)
  • Sound production resources (e.g., speaker and phone)

 

 

Instructional Design

Opening/Activating Strategy

  • Using found sound or body percussion, perform a rhythm (or steady beat) for eight beats. Have students echo. Label this rhythm A.
  • Using a different found sound or body percussion, perform a different rhythm for eight beats. Have students echo. Compare and contrast with A. Label this rhythm B.
  • Tell students they will be creating musical compositions with same and different patterns (A and B).

Work Session

  • Play a blues recording and ask students about the mood of the music. Lead them to understand that blues music is often about hardship. Suggested blues pieces are “The Thrill is Gone” (BB King), “One Shoe Blues” (BB King), and “Sweet Home Chicago” (Eric Clapton).
  • While many different blues forms exist, this lesson will focus on the twelve-bar blues.
  • The twelve-bar blues includes three phrases (lines), each with four measures and chords, thereby yielding twelve bars (measures). Twelve-bar blues uses three chords (I, IV, and V) in the following sequence:

I    I   I   I

IV IV I   I

V  IV I   I

  • Display visual of twelve-bar blues (this is one example of twelve-bar blues; other versions also exist). The numbers on the top indicate beats; the roman numerals on the bottom indicate chords.

 

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord    I               I                I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   IV              IV             I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   V               IV             I               I

 

  • Have students keep the steady beat using different body percussion for each chord.
    • For example, students pat the steady beat for the I chord, clap for the IV chord, and snap for the V chord.
  • Play the recording and have students perform body percussion to show the chord progression.
  • Display visual showing pitches in the I, IV, and V chords.

 

G       C        D

E        A        B

C        F        G

 

I         IV        V

 

  • Give each student a boomwhacker and practice playing each chord. Then play the twelve-bar blues, playing four beats for each chord.
    • For example, students playing C, E, and G will play sixteen beats in the first phrase (bar) since there are four I chords in the first phrase.
  • Have students listen to the recording to determine the form of the lyrics. (This may take repeated listening.) Lead students to understand the form as A A B (A = first four bars, A is repeated, B = last four bars).
  • Listen to the recording to determine the specific content of the lyrics in A and B phrases (bars). Lead students to understand that A presents a problem, followed by A that repeats the problem (sometimes with a slight variation), and B offers a comment on or twist to what has been presented. All bars end with rhyming words.
  • Divide students into groups and have them write lyrics for their twelve-bar blues. (If students choose, they may write a “not-so-blue blues”, a celebration rather than a commiseration!)
    • Since each phrase (bar) is sixteen beats long, the lyrics should present the problem (A) and reflection (B) succinctly and include rhyming words at the end of each bar!
  • Lyrics content can be aligned with subject matter content (see sample standards). For example, groups could write blues (or not-so-blue blues) about gravity, electricity, and magnetism as major forces acting in nature.
  • Have groups share their blues (or not-so-blues) compositions (speaking or singing) while other students play the chord progression. Other students listen and assess the group’s adherence to the prescribed musical and lyrical form.
  • For example, were the lyrics in A A B form? Did A present the problem and B respond to it? Did each bar end with rhyming words? Was the chord progression a twelve-bar blues?

 

Closing Reflection

  • Question students about lesson content, including music and content area vocabulary and understanding.
  • Have students compare and contrast blues with the music to which they typically listen.

 

Assessments

Formative

  • Through observing and questioning, assess students’ understanding of the twelve-bar blues harmony and lyrics.
  • Through observing, assess students’ ability to play a steady beat using body percussion and boomwhackers.
  • Through observing, assess students’ understanding of academic content while writing lyrics.

Summative

  • Students write and share lyrics reflecting assigned content in prescribed form.
  • Students play the twelve-bar blues.

 

 

Differentiation

Accelerated: 

  • Students explore a different blues form.
  • Students write additional blues lyrics using the same form.
  • Students play two boomwhackers.
  • Create a rhythm for the chord progression (rather than playing the steady beat).

 

Remedial:

  • For a student having difficulty playing a steady beat, another student with beat proficiency could model the steady beat in front of or beside the student.
  • For a student having difficulty playing the boomwhacker at the right time, track the chords on a visual, point to the student (or have another student point to the student) to cue playing the boomwhacker, or pair the student with another student playing the same boomwhacker pitch.

 

Additional Resources

Websites for information on blues:

 

Credits

Ideas contributed by: Dr. Maribeth Yoder-White

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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THE BLUES (OR NOT-SO-BLUE BLUES) 6-8

THE BLUES (OR NOT-SO-BLUE BLUES)

THE BLUES (OR NOT-SO-BLUE BLUES)

Learning Description

Using a twelve-bar blues form, students will create music expressing the blues (or “not the blue blues”) about selected subject content.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: MUSIC & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write lyrics about assigned content using a prescribed form.
  • I can play blues harmony.
  • I can combine music and language to express feelings and ideas.

Essential Questions

  • How can music express feelings and ideas?
  • How can music and language be combined to express feelings and ideas?

 

Georgia Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Grade 6:

S6E2. Obtain, evaluate, and communicate information about the effects of the relative positions of the sun, Earth, and moon.

 

Grade 7:

S7L2. Obtain, evaluate, and communicate information to describe how cell structures, cells, tissues, organs, and organ systems interact to maintain the basic needs of organisms.

 

Grade 8:

S8P5. Obtain, evaluate, and communicate information about gravity, electricity, and magnetism as major forces acting in nature.

Arts Standards

MSGM6.CR.2 Compose and arrange music within specified guidelines.

MSGM6.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

MSGM6.RE.1 Listen to, analyze, and describe music.

MSGM6.RE.2 Evaluate music and music performances.

MSGM6.CN.2.d Demonstrate performance etiquette (e.g. stage presence, attire, and behavior) and audience etiquette appropriate for venue, purpose, context, and style.

 

South Carolina Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Grade 6:

6-LS1-1. Conduct an investigation to provide evidence that living things are made of cells; either one cell or many different numbers and types of cells.

 

Grade 7:

7-LS1-6. Construct a scientific explanation based on evidence for the role of photosynthesis in the cycling of matter and flow of energy into and out of organisms.

 

Grade 8:

8-LS1-5. Construct a scientific explanation based on evidence for how environmental and genetic factors influence the growth of organisms.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

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

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

 

Key Vocabulary

Content Vocabulary

Non-ELA vocabulary will vary depending on selected content for blues compositions.

Arts Vocabulary

  • Beat - The pulse underlying music
  • Blues music - A genre that evolved from folk music of African Americans in the American South (work songs, field hollers, and spirituals) during the late 1800s
  • Body percussion - Using the body as an instrument; includes patting, clapping, stamping, and snapping
  • Chord - A combination of three or more pitches played at the same time
  • Chord progression - A sequence of chords
  • Form - The organization of a piece (how the music is put together)
  • Harmony - Two or more pitches sounding simultaneously
  • Key - The group of pitches (scale) around which a piece of music revolves
  • Measure - The space between two bar lines
  • Phrase - Musical sentence

 

Materials

  • Boomwhackers (or other pitched instruments)
  • Writing materials (e.g., pencil and paper)
  • Recording of blues music (see suggestions below)
  • Sound production resources (e.g., speaker and phone)

 

 

Instructional Design

Opening/Activating Strategy

  • Using found sound or body percussion, perform a rhythm (or steady beat) for eight beats. Have students echo. Label this rhythm A.
  • Using a different found sound or body percussion, perform a different rhythm for eight beats. Have students echo. Compare and contrast with A. Label this rhythm B.
  • Tell students they will be creating musical compositions with same and different patterns (A and B).

Work Session

  • Play a blues recording and ask students about the mood of the music. Lead them to understand that blues music is often about hardship. Suggested blues pieces are “The Thrill is Gone” (BB King), “One Shoe Blues” (BB King), and “Sweet Home Chicago” (Eric Clapton).
  • While many different blues forms exist, this lesson will focus on the twelve-bar blues.
  • The twelve-bar blues includes three phrases (lines), each with four measures and chords, thereby yielding twelve bars (measures). Twelve-bar blues uses three chords (I, IV, and V) in the following sequence:

I    I   I   I

IV IV I   I

V  IV I   I

  • Display visual of twelve-bar blues (this is one example of twelve-bar blues; other versions also exist). The numbers on the top indicate beats; the roman numerals on the bottom indicate chords.

 

           beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

           chord    I               I                I               I

           beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

           chord   IV              IV             I               I

           beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

           chord   V               IV             I               I

 

  • Have students keep the steady beat using different body percussion for each chord.
    • For example, students pat the steady beat for the I chord, clap for the IV chord, and snap for the V chord.
  • Play the recording and have students perform body percussion to show the chord progression.
  • Display visual showing pitches in the I, IV, and V chords.

 

G       C        D

E        A        B

C        F        G

 

I         IV        V

 

  • Give each student a boomwhacker and practice playing each chord. Then play the twelve-bar blues, playing four beats for each chord.
    • For example, students playing C, E, and G will play sixteen beats in the first phrase (bar) since there are four I chords in the first phrase.
  • Have students listen to the recording to determine the form of the lyrics. (This may take repeated listening.) Lead students to understand the form as A A B (A = first four bars, A is repeated, B = last four bars).
  • Listen to the recording to determine the specific content of the lyrics in A and B phrases (bars). Lead students to understand that A presents a problem, followed by A that repeats the problem (sometimes with a slight variation), and B offers a comment on or twist to what has been presented. All bars end with rhyming words.
  • Divide students into groups and have them write lyrics for their twelve-bar blues. (If students choose, they may write a “not-so-blue blues”, a celebration rather than a commiseration!)
    • Since each phrase (bar) is sixteen beats long, the lyrics should present the problem (A) and reflection (B) succinctly and include rhyming words at the end of each bar!
  • Lyrics content can be aligned with subject matter content (see sample standards). For example, groups could write blues (or not-so-blue blues) about gravity, electricity, and magnetism as major forces acting in nature.
  • Have groups share their blues (or not-so-blues) compositions (speaking or singing) while other students play the chord progression. Other students listen and assess the group’s adherence to the prescribed musical and lyrical form.
  • For example, were the lyrics in A A B form? Did A present the problem and B respond to it? Did each bar end with rhyming words? Was the chord progression a twelve-bar blues?

 

Closing Reflection

  • Question students about lesson content, including music and content area vocabulary and understanding.
  • Have students compare and contrast blues with the music to which they typically listen.

 

Assessments

Formative

  • Through observing and questioning, assess students’ understanding of the twelve-bar blues harmony and lyrics.
  • Through observing, assess students’ ability to play a steady beat using body percussion and boomwhackers.
  • Through observing, assess students’ understanding of academic content while writing lyrics.

Summative

  • Students write and share lyrics reflecting assigned content in prescribed form.
  • Students play the twelve-bar blues.

 

 

Differentiation

Accelerated: 

  • Students explore a different blues form.
  • Students write additional blues lyrics using the same form.
  • Students play two boomwhackers.
  • Create a rhythm for the chord progression (rather than playing the steady beat).

 

Remedial:

  • For a student having difficulty playing a steady beat, another student with beat proficiency could model the steady beat in front of or beside the student.
  • For a student having difficulty playing the boomwhacker at the right time, track the chords on a visual, point to the student (or have another student point to the student) to cue playing the boomwhacker, or pair the student with another student playing the same boomwhacker pitch.

 

Additional Resources

Websites for information on blues:

 

Credits

Ideas contributed by: Dr. Maribeth Yoder-White

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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SING ME A POEM 6-8

SING ME A POEM

SING ME A POEM

Learning Description

In this lesson, students will explore how different multimedia formats of a ballad impact audience perception.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can analyze and evaluate texts through multimedia formats.
  • I can explain and analyze how the media's portrayal of the text impacts the audience.
  • I can use musical vocabulary to explain what I hear in a ballad.
  • I can use good posture, breath support, and accurate pitch while singing.

Essential Questions

  • How does the emotional impact and audience engagement differ between reading a ballad’s text and listening to it being sung?
  • How does a text's portrayal change across its written and musical formats, and how do these differences shape audience perception?
  • How can I use my voice to express emotions and communicate a message?

 

Georgia Standards

Curriculum Standards

Grade 6:

ELAGSE6SL2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.

 

Grade 7:

ELAGSE7SL2 Analyze the main ideas and supporting details presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how the ideas clarify a topic, text, or issue under study.

 

Grade 8:

ELAGSE8SL2 Analyze the purpose of information presented in diverse media and formats (e.g., visually, quantitatively, orally) and evaluate the motives (e.g., social, commercial, political) behind its presentation.

Arts Standards

MSGM6.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

MSGM6.RE.1 Listen to, analyze, and describe music.

MSGM6.RE.2 Evaluate music and music performances.

MSGM6.CN.2.d Demonstrate performance etiquette (e.g. stage presence, attire, and behavior) and audience etiquette appropriate for venue, purpose, context, and style.

 

South Carolina Standards

Curriculum Standards

Grade 6:

ELA.6.AOR.10.1 Analyze a text or subject presented through multimedia formats and explain how each media’s portrayal of the text or subject impacts the audience.

 

Grade 7:

7.AOR.10.1 Evaluate a text or subject presented through multimedia formats and analyze how each media’s portrayal of the text or subject impacts the audience.

 

Grade 8:

8.AOR.10.1 Evaluate a text or subject presented through multimedia formats and analyze how each media’s portrayal of the text or subject impacts the audience.

Arts Standards

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

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

 

Key Vocabulary

Content Vocabulary

  • Ballad – A poem that tells a story of adventure, of romance, or of a hero, that is suitable for singing, and that usually has stanzas of four lines with a rhyme on the second and fourth lines
  • Text - Can include, but is not limited to, materials such as books, magazines, newspapers, movies, paintings, television shows, songs, political cartoons, online materials, advertisements, maps, digital media, infographics, podcasts, charts, graphs, diagrams, notes, captions, lab reports, scenarios, and works of art
  • Analyze - To study something closely and carefully
  • Evaluate - To study carefully and make a judgement
  • Multimedia - Using different types of media, like pictures, videos, sounds, and words, all together to tell a story or share information

Arts Vocabulary

  • Ballad – A poem that tells a story of adventure, of romance, or of a hero, that is suitable for singing, and that usually has stanzas of four lines with a rhyme on the second and fourth lines
  • Pitch - The highness or lowness of sound
  • Rhythm - Long and short sounds and silences
  • Dynamics - Loud and soft sounds; volume
  • Tempo - The speed of the beat
  • Timbre - The distinctive quality of sounds; the tone color or special sound that makes one instrument or voice sound different from another
  • Form - The organization of a piece (how the music is put together)
  • Articulation - How a performer moves from one note to the next; how notes are connected or not

 

Materials

  • Projection board with internet access
  • Implements for completing writing assignments
  • Graphic organizers (optional)
  • Printed song lyrics
  • Audio recordings
  • Music video (if available)
  • Harvard Project Zero Thinking Routines

 

 

Instructional Design

Opening/Activating Strategy

See, Think, Wonder (See, Think, Wonder Harvard Project Zero Thinking Routine)

  • Prepare students for a “See, Think, Wonder” reading activity by telling students they are going to read a ballad poem excerpt and answer three prompts. (**Ballad suggestions are in the Additional Resources section of the lesson plan.) Students will need implements for documenting their responses.
    • “I see”: What do you see? What stands out to you?
    • “I think”: What do you think about while reading the ballad poem?
    • “I wonder”: What does the poem make you wonder? What questions do you have?
  • Students are each given copies of the ballad poem to read individually or as a group and answer the first prompt (I see) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students will read the ballad poem a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
        • Ask “What did you read in the ballad poem to make you think about …?” to encourage deeper connections to the written text.
      • Students will read the ballad poem a third time and answer the third prompt (I wonder) using words or images.
        • Tell students to “Turn and Talk” about their responses with a neighbor.
        • Call on students to share their responses with the class.
          • Restate students’ responses. All responses are acceptable.
          • Tell students they are going to be examining two different formats of the ballad: the ballad written as a poem and the ballad sung as a song. Students will evaluate how each format impacts them.

Work Session

Ballad Poem Analysis

  • Prepare students to analyze the entire ballad poem by considering and discussing the following questions:
    • Title: What clues do the title give about the poem's subject matter?
    • Speaker: Who is "speaking" in the poem?
    • Words and phrases: What words stand out? Are there any unfamiliar words? Is there a consistent rhyme or pattern?
    • Imagery: What pictures or sensory details does the poet create using language?
    • Tone/mood: How does the poem make you feel?
    • Theme: What is the message?
    • Include additional relevant questions to help guide students’ poetry analysis.
  • Students collaborate with a partner to read, analyze and annotate the entire ballad poem.
    • Tell partners to “Turn and Talk” about their responses with another pair of partners.
  • Read the poem aloud with the whole class and engage the students in a class discussion about their answers to the questions.

 

Music Analysis: Hear, Think, Wonder

  • Prepare students for a “Hear, Think, Wonder” listening activity. This is a modification of the Project Zero “See, Think, Wonder” Thinking Routine activating strategy.
  • Tell students they are going to listen to the ballad as a song and answer three prompts:
    • “I hear”: What sounds do they hear? Musical sounds can include pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different [contrasting]), articulation (smooth/detached).
    • “I think”: What does the music make you think about?
    • “I wonder”: What “wonderings” do you have? Wonderings are generally
  • Students listen without talking the first time and answer the first prompt (I hear) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students listen without talking a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable. Ask students, “What did you hear in the music to make you think about …?” to encourage deeper connections to the music.
      • Students listen without talking a third time and answer the third prompt (I wonder) using words or images. **The “I think” and I wonder” prompts can be combined into one listening event instead of two separate events.
        • Tell students to “Turn and Talk” about their responses with a neighbor.
        • Call on students to share their responses with the class.
          • Restate students’ responses. All responses are acceptable.
        • The teacher will play the song again while students sing along with the recording. The teacher will remind students to demonstrate good posture, breath support, and accurate pitch while singing.
        • The teacher will lead a discussion with the class about how the musical sounds from the song help contribute to the message of the written text. (Focus on the vocabulary from the “I Hear” prompt.)
          • Ask students whether the music makes the narrative more or less engaging and why.

 

6th grade: Focus more on analyzing the text and explaining the impact on the audience.

  • For example:
    • What is the overarching message of the text?
    • What emotions do they make you feel?
    • Does certain text or sections of text repeat?
    • What is your overall impression of the poem/song?

 

7th and 8th grade: Focus more on evaluating the text and analyzing the impact on the audience.

  • For example:
    • What are the ballad’s strengths and weaknesses?
    • Does the ballad leave a lasting impression or make you want to read/listen to it again?
    • How does the ballad compare to other ballads in the same genre or style?
    • What is your overall impression of the ballad?

 

Closing Reflection

Wrap It Up

  • Remind students that they have explored text presented as a ballad poem and a ballad song.
  • Present students with the following:
    • 6th grade:
      • (a) How does the emotional impact and audience engagement differ between reading a ballad’s text and listening to it being sung?
      • (b) Which format do you prefer and why?
    • 7th and 8th grade:
      • (a) How does a text's portrayal change across its written and musical formats?
      • (b) How do these differences shape audience perception?
      • (c) Which format do you prefer and why?
    • Remind students to keep the question(s) in mind as the class reviews each format.
      • Review both formats of the ballad.
      • After the review, allow students time to think about and thoughtfully answer the questions making sure they use content and music vocabulary in their responses.
        • Students should annotate the content and music vocabulary in their responses using a highlighter, underlining, or circling the vocabulary words.
      • Students will “Turn and Talk” with their neighbor discussing their response to the questions.
      • Call on students to share their responses with the class.

 

Assessments

Formative

  • Evaluate students’ responses to See, Think, Wonder and Hear, Think, Wonder.
  • Observe partner and whole class discussions.

Summative

  • The teacher will evaluate students’ learning through students’ responses (written or oral) to the essential question that includes content and music vocabulary. Using a rubric or checklist may help provide assessment guidance for students.

 

 

Differentiation

Accelerated: 

  • Research and compare additional poem and song ballads.
  • Discuss historical context such as, “How do ballads reflect the time period they were written in?”.

 

Remedial:

  • Use excerpts of the poem and song when completing the analysis.
  • Use graphic organizers.
  • Provide guided notes or sentence starters for discussion.
  • Use partner reading or small group support for comprehension.

 

Additional Resources

Suggested Ballad Titles:

  • “Ballad of John Henry” (poem)
  • “Ballad of John Henry” sung by Wee Sing
  • “Promised Land” sung by Chuck Berry
  • “Puff the Magic Dragon” sung by Peter, Paul, and Mary

 

Credits

Ideas contributed by: Dr. Rue S. Lee-Holmes

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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