Please enable JavaScript.

Coggle requires JavaScript to display documents.

341 (English Literature strategies :pencil2: :pen: (Previewing and…

- - - - Present an outline for the text using just the pictures and the headings. Then get students to guess what the text is about.
      - Ask students to read one section and then predict what the next one will be.
      - Discuss how predictions impact the reading of the text
    - - As they read the text tick when they predicted correctly
      - Write notes independently or with a partner about what might be in the next section
    - - Making a prediction of what the text will be about causes students to read text more carefully
    - - are students engaged?
      - are they monitoring their understanding
      - Are students making logical/acurate predictions
  - - - Asking questions helps establish a purpose for reading and makes students read more.
    - - Get students to use the KWLH strategy to come up with things they want to learn from this text
      - Use questions to identify a purpose for the reading.
      - Sugest students come up with ore questions as they go through text
    - - Come up with questions that they want to find the answer to in the text
      - As they read write down answers
      - Check after the reading to see if they found the answers to their original questions.
  - - - Helps students get a more efficient way of getting an understanding of a text
    - - Explain skim reading to class
      - Give students 60 secs to skim a text in groups
      - Select a text that has headings & sub headings
      - Report back with findings
      - Give students 3 mins to scan for key words under sub headings to elaborate on the key points.
    - - Jot down notes on main headings & points
      - Compare notes
      - students skim read text
    - - are students critically using their notes
  - - - Helps students to learn to use the pages one would use to find info eg index glossary etc
    - - Prepare a list of questions that you could find answers to in the index and glossary and things like that
      - Once students have found all the answers discuss it with them
      - Select a book or a long text
    - - Students discuss where they might find the answers to each question
      - They look for the answers and indentify what they used to help them
      - Compare the answers they find
    - - Imediately
      - Later on
- - - - Music technology
    - - Composition
        
        Must compose two pieces of music
      - Group performance
      - Solo Performance
        
        One must perform two pieces on an instrument
    - - Transcription through aural skills
        
        Learn aural skills in......
        
        Melodic dictation
        
        Rhythmic dictation
        
        Itallian terms
        
        Chord recognition
        
        Cadences
      - Conventions of music
        
        Transposition
        
        Homophonic pollyphonic Monophonic
        
        Key signatures
        
        Transposing insruments
        
        Itallian terms
        
        Com positional Devices
        
        Pedal note
        
        Sequence
        
        Alto clef
        
        Score analysis
  - - - Conventions of music
        
        Intervals and their quality
        
        Performance techniques
        
        Tremolo
        
        Keyboard reductions
        
        Homophonic,Pollyphonic,Monophonic
        
        Students must give more in depth descriptions for level two
        
        Transposition
      - Aural
        
        Q1
        
        Time signatures
        
        Bar lines to match time signature
        
        Itallian terms for an appropriate speed
        
        Chords
        
        Cadences
        
        Roman numerals
        
        jazz notation
        
        Melodic dictation
        
        Uses bigger intervals
        
        Recognising the sound of an instrument
      - Devise an instrumentation for an ensemble
        
        Requires knowledge of instrument ranges
        
        Can be for jazz band, rock group, or Choral group
        
        Must submit performance and notated score
      - Demonstrate understanding of two substantial contrasting music works
        
        Demonstrate knowledge of two different pieces historical background and musical techniques.
    - - Develop knowledge of the development and usage of music technology
      - 27658 Unit Demonstrate and apply knowledge of electronic music production and music notation application(s)
        
        Make a mix of a song using logic, Garageband etc
    - - Investigate an aspect of New Zealand music
      - Solo performance
      - Group performance
      - Composition
        
        Compose two SUBSTANTIAL pieces
      - Second instrument
  - - - Operate music sequencing, editing, and music notation application(s)
      - Operate music sequencing, editing, and music notation application
        
        Create both
        
        Annotated musical score of either an existing piece or your own composition
        
        Create a digital recording using feel and depth
    - - Analyze a substantial music work
      - Demonstrate understanding of harmonic and tonal conventions in a range of styles
        
        In a range of styles means it could incorporate contemporary songs
        
        Analyze elements of chord progressions
      - Aural
        
        Identify textures and compositional techniques aurally
        
        Chords
        
        Identify chords aurally
        
        Describing the tonality
        
        Explaining why things happen within the score aurally
    - - Solo performance
        
        For level three you must perform two programs of pieces
        
        Students could perform pieces from both contemporary and classical styles
      - Group performance
      - Research a music topic
      - 2nd instrument
      - Composition
        
        Must compose three for level three
- - - - History of the buffalo soldiers
        
        Could be related to issues of maori people
  - - - Noise music
    - - Cross over to the history of hip hop
  - - - Structire
        
        ABA within ABA
      - Improvisation
      - Sequnce
      - Extended range chords
      - Rhythmic devices
        
        Syncopation
        
        Swing feel
        
        Odd time
      - Could be an introduction to jazz
      - Performance techniques
        
        Buzz roll
        
        Flam
- - - - Future two
        
        Over socialised
        
        Based on students interests
        
        Unclear what knowledge will be included/excluded and why
        
        Not based on content knowledge
      - Future three
        
        Classical music is seen as a way to teach the foundational knowledge of theory that students can then apply to understanding contemporary
        
        Using boundaries as a way to expand students knowledge
        
        There is no hierarchy in regards to classical and contemporary
        
        Crossing concepts with classical and contemporary seeing how they inter relate.
        
        Provides a variety of options.
      - Future 1
        
        Under socialised
        
        Strictly classical
        
        Classical is given transcendental status
        
        Classical is seen as a method to open doors for people
        
        Rigid and not responsive
        
        Provides students with information they would otherwise not have access to
  - - - Having programs that push students knowledge
      - Having music programs that center around students interests.
      - Its generally considered teachers should be somewhere in the middle
    - - Personal music skills/set areas of skill
      - School culture
      - The New Zealand Curriculum
      - Personal beliefs about curriculum content
      - Student demand interest
      - Achievement Standards
      - Expectations of the parent community
      - Scholarship examinations
- - - - Laying the groundwork
        
        Listening to a range of music can help students have a reference point as to what to do when composing
        
        When offering feed back you can call back to it. Eg "what if you did something like in that bit of music we listened to?"
        
        Identifying things in the music that make it work
        
        Examining the musical elements that go into each style
        
        Past Performances
        
        Before getting students to compose a piece in a style get them to perform it in that style
        
        Later on students can use this as a reference point
      - Yuh
        
        Giving students feedback on compositions
        
        If you tell them to change it at the end they may be resistant because they feel it is finished
        
        Might take it personally
        
        Giving students feedback/getting them to revise should occur as they are composing
      - Collaborative comunity of composers
        
        Getting students to perform in real time together in a room allows for spontaneous sugestion of ideas and collaboration.
        
        Students can help each other
        
        This is hard when students compose on a computer
        
        But you can have two people on a computer
      - Ways to support students who compose digitally
        
        Engage them in a certain amount of "live" composing with their digital instruments
        
        Analytical listening
        
        Technology that enables digital collaboration between teachers and students
        
        Soundtrap
        
        Enables students to share projects with others and collaborate
    - - Define music
        
        Allows students to break from what their sometimes narrow definition of what Music is
        
        Opens students up to using sound and noise in their music instead of just traditional instruments
        
        Questions to ask students
        
        What is music?
        
        What is composition?
        
        Whats the diference between music and noise
        
        Can only humans make music
      - Listen
        
        three types of listening to music
        
        Sensuous plane
        
        Listening to a piece of music because you like it
        
        Expressive plane
        
        Listening to it because you consciously relate to the feeling it invokes
        
        Sheerely musical
        
        Listening to how the composer(s) manipulate the musical elements
        
        THIS is the kind of listening we want students to be doing in class
        
        Listening journal
        
        Going around finding examples of sounds and recording them
        
        Keeping a journal of how these sounds can be included in music
      - Explore
        
        Explore how sound can be changed and manipulated
      - Lesson Plan combining Listening and defining music
        
        1 play a series of songs to students tell them they should listen for commonalities in the music and use this to find a definition of music
        
        A Beethoven piece
        
        Electronic experimental piece
        
        Money by pink floyd
        
        Song begins with clanking of cash register etc
        
        Ask students when does it become music
        
        Thung kwian sunrise
        
        It is infact played by elephants
        
        Challenges students understanding of how/what composition is
        
        2 Students get into groups and discuss the comanalities between these pieces and then come up with a definition of music
        
        3 Groups share their definitions of music
        
        4 Reveal the performers
        
        5 Come up with a mutually agreed upon definition of music as a class.
      - All this stuff is designed to help students have a deeper understanding of music which can help lay the groundwork for a good com positional environment
    - - Ways you can get students inspired
        
        Getting students to draw from their life experiences
        
        Cross curricular
        
        Composing based on a social studies unit on slavery
        
        Get students to compose for a comission
        
        Get students to come up with what they would do if they were to compose for the following audiences
        
        Best friend
        
        Church
        
        Significant other
        
        Funeral
        
        Grandparent
        
        A baby
        
        A comercial
        
        Means students have to think about the apropriate speed tempo etc for each comission
      - Composing for a mood
        
        Get students to make a composition based upon a mood
        
        Get them to compose a piece based on their mood at different times of day
        
        At night
        
        Walking to school
        
        Get students to perform them
        
        Once they are done get them to discuss why each sound feels the way it does
        
        Happy or sad should be avoided
        
        Too easy doesnt require much thought
      - Helping students find their own voice
        
        Get students to create an improvisation or composition based on their personality
        
        Do this every day at the start of the lesson
        
        Get students to save these and then compile a portfolio showing how they have changed as a composer/person.
  - - - Defining what goes into a style
        
        Sandwich thing
      - Instruments
      - Analysis of music scores
        
        Can be used as a reference
        
        Teaches students com positional techniques that could be used in their own compositions
        
        Teaches students things about structure
      - ICT
        
        More difficult to have spontaneous collaboration
        
        Need good computers with decent software
      - examples of music to use as a reference
        
        Listening activities
        
        Back engineering
      - Availability of space
      - Motivation/inspiration
        
        Open students up to different ideas of what to draw from
        
        Personal experiences
        
        Non musical things
        
        Hobbies
        
        Paintings/art
        
        Historical events
        
        Therenody for the victims of hiroshima
    - - Physical space
        
        Practise rooms
        
        Rooms to enable ensembles to play in
        
        Quiet areas away from noise
        
        Recording
        
        Students who need quiet to compose
        
        Different areas may be needed for different styles
        
        Large room for big rock band to compose in
        
        Small quiet room for hip hop composers/classical composition
      - Metaphorical space
        
        Enabling students enough "room to breathe" to compose effectively
        
        Burnard 2012
        
        Students need time and space to think and extend Ideas
    - - Burnard 2012
        
        An artist stated that he thought it was good to give students space and time to think to extend ideas
        
        This was seen by the teacher working with the artist as "Wasting time"
        
        There can be tensions between giving students time to experiment and develop ideas and the assessment itself
        
        Students also enjoy having alot of time to compose
      - Giving students time to experiment and explore instruments
        
        DJing
        
        Different ways an instrument can make a sound
      - One consistent piece of feedback igot from a composition unit i did on TE was that the students would have liked more time
        
        I used a feedback sheet.