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Fiona Reilly's Dance workshops k-8

Workshop 1 Exemplar: Kinder -grade 1
Activities in order of delivery:
1. Warm up
Body isolations: Head, shoulders, elbows, arms, hips knees, feet.
2. -then moving around the space as tall as you can then as small as you can, as wide as you can and as thin/tight as you can. Make a wide open shape, small, tight shape. Join up with the people next to you and let's make one big group shape!
3. Sit down together: Discuss who has been to the beach-what kinds of things would you expect to see at the beach? What kinds of creatures would we see under water?
How will we get us all there? Bus.
4. Let's travel to the beach: What will we need to take with us? Stand up put bathers on, hat on, sun screen on each other's backs, towel etc.
5. Teacher in role: Bus driver. Take tickets as children enter, lead them on a bumpy ride, twisty corners etc.
6. Arrive at the beach: Explore the sand, climb over rocks, collect shells, build sand castles, jump waves.
7. Go under water: put music on walk slowly, spot jelly fish: Show me how a jelly fish might move. Fish: show me how a fish might dart in and out of the seaweed or coral. Swim as a school of fish following each other (change leader at times). Walk on and see a shark: Show me how a shark might glide through the water looking for food. Repeat with crabs, seahorses etc.
8. Travel back to the classroom on the bus.
9. Arrive and sit in a circle.
Choose favourite sea creature. Group students and allow them to perfom/share their ideas in the centre of the circle one group at a time. Children show appreciation by applauding.
10. Possible extensions into other curriculum areas: Could draw their adventure, write about their particular creature etc.

Workshop 2: Exemplar for Grade 2-4
1. Warm up : Body Isolations then skill acquisition eg: skips in a circle 6 students at a time (the rest sit in the middle so others have something to skip around.) , gallops in lines down the room, tight rope walking, balancing in lines down the room (5 students at a time to music)
2. Discussion: What kinds of objects get thrown out at the tip? What kinds of things do we throwaway? (Could lead to a discussion on recycling -link to environmental issues)
3. Create a physical magic spell that takes us to this very unusual tip where things come to life.
4. As we stand at the tip with piles of rubbish everywhere we see a crumpled up shirt. Lie in the shape of that crumples up shirt on the ground. As the music starts the shirt will slowly start to fill with air and move and float through the tip.
Repeat the process with a spring from an old mattress, an old bike, a torn ragdoll or robot etc. (Children will be getting tired)
5. Sit in a circle and give out some drawing paper. Ask the students to choose one special object or toy from the exploration or even one we haven't explored if they choose and write or draw the story of how their object, toy ended up at the tip. (10 -15 minutes quiet time)
6. If large class share a few of the stories/ pictures around the room and ask them to think about how the toy/ object/ person felt at the different stages ofthe story and to all write down some key expressions, feelings, emotions (could draw faces if can't write) reflecting this on the back of the page. (Could lead to discussion of emotions, empathy etc later on)
7. Tell students to lie down and close their eyes and see themselves communicating the story through their bodies through movement.
8. Open eyes: Ask 4 people at a time to go to the centre ofthe space and show us their story in movement. Freeze in the last shape when finished until all children in the group of 4 have finished moving.
9. Ask students what they saw, what happened, how did they know that the toy/ object was happy? Sad? Angry? Etc.
10. Repeat process with the rest of the class.

Workshop 3: Exemplar for Grade 5-8
1. Warm up: Form pairs and create 2 lines on opposite sides of the space with partners facing each other.
a. Walk towards your partner as if you haven't seen them for a while, greet them and move on.
b. Repeat the approach and greeting but this time, take out the words.
c. Repeat the approach and greeting but this time exaggerate and slow down the gestures.
d. Repeat this but this time distort and exaggerate the gestures to create a sequence of movement.
e. Show 4-5 pairs at a time to see the effect.
2. All spread around the room. Focus is on exaggeration. Mime brushing hair-then exaggerate and distort this gesture. Repeat with cleaning teeth.
3. You show how to move distortion into abstraction by teaching them how to do up buttons in a stylised fashion.
4. Teach shower sequence. (You could teach a wake up sequence instead.) Practise until everyone is in unison to music.
5. Hand out scenarios which fit in around this shower sequence or wake up sequence. Write everyday actions on a card to hand out for students to 'move'.
6. Share each groups work by reading out the instructions they were given and then showing the interpretation by the particular group. Talk about abstraction and using other's bodies to create objects eg: toaster
7. Now order the sequences to perform one after the other including your unison shower sequence. Play the music, work out the transitions and you have a class dance using everyday gestures based on: "The day in the life of.... "

Abstract gestures and emotions for middle school

Copyright © 2002 by Arizona State University and the Arizona Board of Regents.

Pantomime vs. Abstract Gesture Middle School Lesson Plan Standard: Students will understand dance as a way to create and communicate meaning Indicator of Achievement: Students will effectively demonstrate the difference between pantomiming and abstracting a gesture Materials: Jose Limon's film "There Is a Time" music to accompany "mad, sad, glad" movements Preparation: Show the students the film, asking them to notice "a time for war," "a time to mourn," "a time for peace," and "a time to laugh." Discuss the feelings, body language, and abstraction from the pantomime. Activity: Have the students explore the words, "mad, sad, and glad," first in realistic body language, second in pantomime, and third in abstraction. For abstraction have them experiment by changing time (slow, fast, freeze frame, repetition and deceleration), space (large, small, high, low, upside down, turning, traveling, putting the gesture in a different body part). Have half of the group improvise abstract movements while the other half observes. Discuss the choices made. Next day, add music, preferably music the students bring in. Have students practice a solo for the abstracted emotions. Share (with the class and perhaps have the students perform for a school assembly) and discuss. Assessment: Videotape the solos. Have the students write a critique of their work, discussing their choices, as well as their goals for further work on dance skills. Include in student portfolios. Adapted from a draft of Delaware's "Visual and Performing Arts Curriculum Framework"

Dance and emotions for middle school

Copyright © 2002 by Arizona State University and the Arizona Board of Regents.

Collaborative Choreography, Constrasing Emotions Middle School Lesson Plan Standard: Students will understand and demonstrate choreographic principles, processes, and structures Indicator of Achievement: Students will: use improvisation to solve movement problems with a group demonstrate the ability to work cooperatively in a small group during a collaborative choreographic process describe specific choreographers' movement vocabularies and compositional techniques Standard: Students will demonstrate and evaluate the making of dance. Indicator of Achievement: Students will: choose a topic of personal choice and create a dance that communicates a particular interpretation or meaning compare and contrast two dance compositions in terms of space, time, and force/energy Preparation: (Students must know and be able to memorize basic movements.) Students brainstorm a list of contrasting emotions. Then they are divided into groups. Each group selects two contrasting emotions from the list generated by the entire class. The dance problem to solve is presented: create a group movement study about the selected contrasting emotions. The guidelines for the assignment are: Pay attention to the element of "transition." Transition is defined as the necessary bridge which connects one movement to the next. Transition is the key element of the group movement task. Consider and utilize ideas from all group members in the movement study. Be able to explain the reasons for your choreographic choices. Activity: Groups collaborate to create their movement study based on the two contrasting emotions they've chosen. (Expect some conflicts to emerge and remind them of guideline #2, an essential part of conflict resolution.) After consensus is reached, the groups have a brief rehearsal period. They then perform their completed project for their peers. After each movement study is presented, the entire class discusses the choreographic choices of the group, as well as the use of contrast and transition. Assessment: Students may write a portfolio/journal entry evaluating their group's choices and their role in the process of creating the movement study. Based on a lesson by Jean Hedrich, Delaware

Weather Dance for year 3/4

 "Weather Dance" lesson by Arts work
Grades 3 and 4
Time: 3, 30-40 minute classes
Brief Description:
In this lesson creative dance activities will be used to augment the students’ understanding of weather as well as focus on specific dance concepts. In a lecture/demonstration, the students will be introduced to different types of clouds, as well as how clouds are formed. In groups, actual clouds will serve as the inspiration for the students to create cloud shapes with their bodies, using the dance concepts of body-shape and spatial levels. Next, the students will learn what wind is and why it occurs. The effect that wind has on people will be explored through the dance concepts of free and bound movement. Lastly, lightning and thunder will be discussed and explored further through the elements of body relationships and movement.

Learning Outcomes:
Students will be able to:

• Describe the difference between the three types of clouds
• Describe how wind occurs and how it can affect people
• Describe why lightning and thunder occur
• Use actual clouds or pictures of clouds as the impetus for using their bodies to create shapes with differing levels and energy
• Perform free and bound movements in response to different types of wind
• Maintain a person-to-person relationship while moving through space
• Respond verbally to questions regarding what they see in movement and what it feels like to move

Resources/Materials:

• CDs:
  “Voices of the Earth” Disc 4
  “Rain Storms: Sounds of Nature”
  “Enya, Paint the Sky with Stars”
• Pictures of clouds, lightning, and the effects of wind
• Books:
  Berger, Melvin and Gilda. Can it Rain Cats and Dogs?: Questions and Answers About Weather. New York, NY: Scholastic, 1999.
  Farndon, John. Weather. New York, NY: DK Publishing, 1998.
  Gilbert, Anne Green. Creative Dance for All Ages. Reston, VA: National Dance Association, 1992.
• Websites (Information and Images):
  http://www.australiasevereweather.com/photography/index.html
  http://www.britishwindenergy.co.uk/edu/wind.html
  (http://asdwww.larc.nasa.gov/SCOOL/lesson_plans/What_is_a_Cloud.html)
  http://www.dictionary.com
  http://www.kings.k12.ca.us/central/cuesd.a/tq/weather/thunderlight.html
  http://www.proteacher.com
  http://sln.fi.edu/tfi/units/energy/whatwind.html
  http://vortex.plymouth.edu/cloud.html
  http://www.weather.com/encyclopedia/thunder/light.html
  http://pittsford.monroe.edu/jefferson/calfieri/weather/WaterCycle.html
  http://www.inclouds.com/gallery.html
  http://ww2010.atmos.uiuc.edu/(Gh)/guides/mtr/cld/home.rxml
  http://weather.about.com/cs/clouds/
  http://liftoff.msfc.nasa.gov/news/2002/news-clouds.asp

Weather Vocabulary:
Atmosphere – The mass of air that encircles the earth. It is made of tiny particles of gases (nitrogen, hydrogen, oxygen, etc.).
Clouds – A visible body of very fine water droplets or ice particles suspended in the atmosphere
Cirrus clouds – Thin, feathery, curly clouds that are high in the sky, so high that they are often made of ice. Mostly white.
Cumulus clouds – Look like puffs of cotton piled in a heap and are commonly known as fair-weather clouds. Closer to the earth than cirrus clouds.
Stratus clouds – Low, flat, layered clouds that are darker and often times bring rain.
Vapor – The form water takes when it is a gas.
Condensation – The process when water changes from a gas to a liquid.
Lightning – The flash of light that occurs when opposite electrical charges collide. Can be between clouds or between a cloud and the ground.
Thunder – The sound that occurs when air is heated by a flash of lightning.
Wind – The event that occurs when warm air rises and cool air takes its place.
Dance Vocabulary:
Shape – the form that your body takes (curved/straight, angular/twisted, symmetrical/asymmetrical)
Level – The height at which a person is dancing, (high, middle, low)
Relationship – how the dancer relates to his or her surroundings and fellow dancers (individual to group, individual to individual, near/far, alone/connected)

Energy – the type of power the dancer is using (sharp/smooth, sudden/sustained)
Flow – how much effort you must use to move (free/bound)
Arizona Dance Standards:
1AD-F2: Create a movement phrase with a beginning, middle and end with, and without, a rhythmic accompaniment with shapes at low, middle and high levels.

PO 1. Suggest possible beginnings, middles and endings for a movement phrase.
PO 2. Demonstrate shapes at low, middle and high levels.
PO 3. Create and demonstrate a complete movement phrase with, or without, accompaniment.
PO 4. Create individual and group design.

1AD-F4: Demonstrate movement qualities (e.g., energy, force, power).

PO 2. Demonstrate the differences between strong, light and
heavy movement.
PO 3. Demonstrate the ability to vary the intensity of dynamics by changing the amount of energy used in a given movement.

1AD-E3: Identify and demonstrate the basic physical and scientific properties (e.g., sound, physics, light, computer software/hardware, mathematics, human anatomy, costume design) of the technical aspects of dance.
(Grades 4-5)

PO 1. Explore natural forces as forms of energy and movement.

1AD-E5: Transfer accurately a visual pattern to a physical motion (i.e., kinesthetic).
(Grades 4-5)

PO 1. Demonstrate shapes with body parts.
PO 2. Improvise by relating to the shapes of objects in the environment.

1AD-E6: Transfer accurately a rhythmic pattern from the aural to a physical motion (i.e., kinesthetic).
(Grades 4-5)

PO 1. Respond to a movement with a sound, and to a sound with movement.
PO 2. Initiate spontaneous movement through various stimuli (e.g., music, sound, words).

2AD-E5: Demonstrate respect for the work of others through appropriate audience behavior during dance performances.
(Grades 4-5)

PO 1. Demonstrate appropriate audience behavior (e.g., attentiveness, appropriate applause).

3AD-F1: Present their own dances to peers and discuss their meaning with competence and confidence.

PO 1. Perform dance compositions for others.
PO 2. Describe what their dance is about.
PO 3. Explain the choices made to create the dance.

Arizona Science Standards:

1SC-E2: Create a model (e.g., a computer simulation, a stream table) to predict change.

(Grades 4-5)
PO 1. Design a model to illustrate a system.
(Grades 6-8)
PO 1. Construct a model that demonstrates change within a system.
PO 2. Describe variables that cause change.
PO 3. Explain cause and effect of variables within a system.

5SC-F2: Demonstrate that light, heat, motion, magnetism, and sound can cause changes.

PO 2. Demonstrate that heat can cause change.
PO 3. Demonstrate that motion can cause change.

5SC-F3: Demonstrate and explain that materials exist in different states (solid, liquid, gas) and can change from one to another.

PO 2. Demonstrate that matter can change and exist in one or more states.

6SC-R3: Identify how the weather affects daily activities.

PO 1. Identify basic weather phenomena (e.g., temperature, wind, precipitation).
PO 2. Explain how weather affects daily activities.

6SC-F6: Describe natural events and how humans are affected by them.

PO 1. Identify natural events that affect humans.
PO 2. Explain how natural events impact human life.

6SC-E8: Describe and model large-scale and local weather systems.

(Grades 4-5)
PO 2. Define basic terms associated with weather systems including fronts, pressure systems and types of clouds.

Procedures:
Class 1:
Cloud Lecture (For pictures go to: http://vortex.plymouth.edu/cloud.html or http://www.australiasevereweather.com/photography/index.html.)

• Tell the class that in this first day of the Weather unit they are going to learn about clouds. Show them pictures of different kinds of clouds. Have students describe how the clouds look different and put them into likeness categories using the students’ descriptions (puffy, wispy, bulky, high, etc.). Prompt students to create three likeness categories. Have students talk about how clouds move in the sky. (Clouds are always in motion. They float across the sky and are constantly changing. The average cloud breaks up in 10 minutes.)
  
• Now talk about how clouds form. Ask the students what condensation means or what it means when water condenses. Make sure it is defined as when water changes from a gas to a liquid, like when your mom boils water and the lid gets wet from the condensation. The water boils, turns into gas and then back into a liquid when it cools on the lid. This can be displayed by using a hot plate and a pot of water, if available. Tell students that the same sort of process happens when clouds are formed. “When warm, moist air rises and cools, droplets of water are formed. This is called condensation. The droplets stick to the condensation nuclei and clump together and form a cloud. A cloud is a collection of millions of these droplets.”
  (http://asdwww.larc.nasa.gov/SCOOL/lesson_plans/What_is_a_Cloud.html)
  
  “Clouds are usually formed when moist air is pushed upward and cools. This is because cool air holds less water vapor than warm air, so the vapor condenses into either liquid or ice. These condensed particles are what we see as the cloud. The cloud is, however, mostly air - the drops or ice particles often make up as little as one millionth of the volume! When a cloud forms at relatively warm temperatures, the particles are usually tiny liquid drops. At very low temperatures, the particles are usually ice” http://www-airs.jpl.nasa.gov When the condensed water that makes up the cloud gets too heavy, it rains and part of the condensed water that was the cloud turns back into water.
  
• Next, define the 3 types of clouds, cirrus, cumulus, stratus, using the likeness categories of pictures. Tell the students that they already know what they are because they put the pictures into categories at the start of the lesson.
  
• Go outside to look at the real clouds that are in the sky. Make sure to take students to an area suitable for the dance portion of the lesson. Also make sure to take the pictures of clouds with you. (If by chance there are no clouds of any kind out on the day of the lesson, just use the pictures of clouds for the dance activity.) Ask students to describe what the real clouds look like and which of the three types they are.

Dance Activity [Dance concepts: shape, level, energy]

“Cloud Shape”

• Instruct students to make a circle and remain standing. “Your bodies can make just as many shapes as the clouds can make. That’s what we are going to do. We are going to make cloud shapes with our bodies.”
• Help the students recall the high, wispy, curly cirrus clouds, the low flat stratus clouds, and the middle level puffy, bulky cumulus clouds.
• Introduce the dance concept of level. Level can be high, middle, or low. Each of the different types of clouds is at a different level in the sky. What are they?
• “Using levels, show me what a cumulus cloud shape would look like.” Repeat this with the different cloud types a couple times.
• Recall how clouds are always moving. Ask students to describe what it looks like when the clouds move in the sky. Is it slow, sustained, and smooth as opposed to sharp and sudden?
• Try to move with the same kind of smooth, sustained energy as a cloud. Instruct students to create a cloud shape of their choice and then have students morph into a different cloud shape. Allow the students to watch each other morph into different cloud shapes and have them describe what they see and why each shape is a certain cloud type.

“Lifespan of a Cloud” Dance

• Talk the class through the lifespan of a cloud. Illustrate with a chart or book. Clouds begin as water on the earth’s surface (at a low level). The sun heats the water and turns it into vapor. As the vapor rises it cools, it condenses into water droplets, and becomes part of a cloud. When the condensed water that makes up the cloud gets too heavy, it falls from the cloud as rain.
• “You are going to make a dance, using the same process that makes clouds.” The students will start in a water shape at a low level (earth’s surface), as they are “heated” they turn into water vapor and rise to dance towards an area signifying the “sky” where they are “cooled” and condense into a cloud shape. Each student will connect to create a group cloud shape. Once everyone has become part of the cloud, the cloud is too heavy and the students “rain” (dance) back to the “earth’s surface.” Decide how the group will know when they are being heated, cooled, or rain. You can use musical instruments and designated areas of the dance space.
• Practice once with whole class. Choose a specific cloud type to create. Play “Voices of the Earth” music. “Show me in your bodies the difference between water, vapor, cloud, and rain.”
• Create groups of 5-6 students. Randomly assign the groups a cloud type (cirrus, stratus, or cumulus). Tell them that they will be creating the same kind of cloud dance they just did as a class but now in smaller groups. Remind students to think about what levels their clouds are in the sky.
• Their ending cloud shape should represent the cloud type they were assigned. Give each group a specific area of the space in which to work. Allow the students about 5 minutes to create their cloud dances. Play “Voices of the Earth” while the students are creating.
• Allow each group to show their cloud dance. Discuss which type of cloud the group represented and how their bodies showed this. Also discuss the change in movement from water to cloud to rain. Play “Voices of the Earth” while students are performing their dances.

Printable worksheet
Assessment: Cloud types worksheet (10 points)

Name__________________________
Date___________

CLOUD WORKSHEET

Draw an example of the three types of clouds. Write one sentence describing why the cloud is cirrus, stratus, or cumulus.

Cirrus





Stratus





Cumulus



Class 2:

Lightning and Thunder Lecture

• “Has anyone ever seen a storm that had lightning and thunder? That’s what today’s lesson will be about. We are going to explore why lightning and thunder occur.”
• “First, we’ll talk about lightning.” Ask students to describe what lightning looks like (quick, bright, sharp, sudden). Show pictures of lightning. “Scientists believe that ice particles in the clouds grind together forming an electric charge at the bottom of the cloud. An opposite charge builds up on the ground right below the cloud.” When the charge is big enough you see lightning.
• “The electricity from just one bolt of lightning could light a small town for a whole year!” (Farndon).
• There is never lightning without thunder. “Thunder is the sound of air bursting as it is heated rapidly by lightning. Lightning and thunder happen at the same time, but you see lightning first because light moves faster than sound” (Farndon). Light travels at 186,000 miles per second and sound only at 1/5 mile per second (Berger).
• “Thunder has many different sounds, depending on where you are and what the lightning does. It can be crackly, rumbly, or just one large crack might be heard.”
  

Dance Activity [Dance concepts: relationships, energy]

“Lightning and Thunder”

• As we just discussed, lightning causes thunder. Lightning and thunder have a relationship to each other. We are going to explore this relationship through dance. The relationship we are talking about in dance is a person-to-person relationship.
• When we talked about clouds we described their energy as sustained or smooth. How would you describe the energy of a lightning bolt? If you were a bolt of lightning, what type of movement would you do? Have volunteers demonstrate movements. Ask students to describe why the movement was like lightning. Describe the movements as sudden and sharp.
• Repeat the same discussion using thunder as the impetus. Recall that thunder can be crackly, rumbly, or just one big crack. Is thunder as sudden and sharp as lightning? Or is it more sustained? Can it be one or the other?
  ü Demonstrate with a student while you explain the next activity. “If John was my partner we would decide who is going to be lightning and who is going to be thunder. This time I would like to be lightning. Since lightning causes thunder I would go first. I’m going to make a lightning shape and say “Lightning!” and then right after John will make a thunder shape and say “Thunder!” We’ll repeat this until the storm ends."
• Continue to demonstrate. While we are doing this we can move throughout the space. My relationship to John can be near or far, but we always have to keep our eyes on each other so our relationship is clear to us and to those watching us.
• Have students find a partner. Begin when you hear the sounds of the storm and freeze when the sound stops. Play music from “Rainstorms: Sounds of Nature.” Stop the music after the partners have had a chance to do the activity about 5 times. Instruct the partners to change roles of lightning and thunder. Repeat.
• Repeat activity, but without vocalizing “lightning” and “thunder.” Tell students to keep their near or far relationship with their partner.
• Instruct half the class to sit and watch the storm while the other half repeats the exercise. When they are done, switch groups.
  ü Discuss whether or not it felt different to be lightning or thunder. What kinds of shapes did people make when they were lightning? Thunder? What did you observe?
• Recap why lightning and thunder occur in nature. Ask students to describe what happens.

Assessment: Write a short paragraph about the thunder and lightning storm that you experienced. (10 points)
Class 3:

Wind Lecture

• In this class we are going to learn about wind. First, let’s talk about why wind happens. The atmosphere of the Earth is made up of gases like nitrogen, oxygen, and hydrogen. These gases make up air. The sun shines on the atmosphere all the time, but it heats the earth’s surface unevenly. When air gets warmer the gas particles spread and the air is lighter so it rises. When air cools it becomes heavier and sinks. When warm air rises, cool air takes its place. This movement of air causes wind. “Wind circles the Earth and plays an important role in determining weather conditions” http://sln.fi.edu/tfi/units/energy/whatwind.html
• How does wind affect people? Get examples from the students. Wind causes storms, which destroy plant life, houses, buildings, etc. It also creates energy with windmills. It can also make it hard to walk or throw a baseball outside. Show pictures of people and things being affected by wind. Ask students how you can tell it’s windy in the pictures? What do the people’s bodies look like, what are the trees doing? Lead this discussion to the dance activity.

Dance Activity [Dance concepts: free flow, bound flow]
“Breezy vs. Windy”

• Have any of you ever been outside when it was really windy? How did you have to walk in that wind? What about when it was just a slight breeze? Have students demonstrate how they would walk in very windy and lightly breezy situations.
• In the dance activity we are going to explore free flow and bound flow in movement. When you walk in windy conditions your movement is more bound. It takes a lot more muscle tension to move your body. When it is only breezy you can move freely and even allow the wind to take you places, you could pretend you are a feather or a piece of paper. You don’t have to use your muscles as much.
• Divide the dance space in half. Use a piece of tape on the floor to portion off the room. One side of the room is very windy and only bound flow movements are allowed, and the other is only lightly breezy and only free flow movements are allowed.
• Split the class in half. When the music starts, whichever side of the room they are on will dictate if they do free or bound movements. Play “Enya, Paint the Sky with Stars” Track #10. Tell students that when they hear the drum beat they are to switch sides and once they cross the center they must move in the way that the wind dictates.
• Repeat this once or twice.
• Allow students to decide when to move from very windy to lightly breezy.
• Have half the class watch as the other half moves from one wind condition to another and then switch.
• Discuss what kinds of movements were done in both types of wind. How did the different movements feel? Can someone describe why wind occurs?
  Culminating Research Assignment:
  The students will randomly pick a type of storm, cyclone, typhoon, hurricane, or tornado to research and write a short 1-page paper. Students will also be required to create some sort of poster, collage, diorama, dance, or other visual project to describe the storm they researched. (20 points)

Assessment:
Informal assessment: Teacher will observe students’ behavior and performance. Did the students engage in class discussions? Were the students able to review the information learned in the lecture and explored in the dance activity? Did the students accurately use the dance concepts in the dance activities?

Formal assessment:
Cloud worksheet (10 points)
Lightning and Thunder paragraph (5 points)
Research Project (20 points: 10 points for paper, 10 points for visual project)
Lesson created by Laura Steigerwald, Arizona State University

 

A Dance lesson p[lan for special needs students

Arts Work   
Copyright © 2002 by Arizona State University and the Arizona Board of Regents.
  Transferring Rhythmmic Patterns From Music to Movement
Students with Special Needs Lesson Plan
Standard:
Students will: identify and demonstrate movement elements and skills in performing dance
Indicator of Achievement: Students will:

• accurately transfer a rhythmic pattern from the aural to the kinesthetic
  
• demonstrate accurate memorization and reproduction of movement sequences

Materials:

• bright colored felt squares
  
• cutout whole, half, quarter and eighth notes
  
• scissors
  
• a drum

Preparation:
Place a felt square on the floor and place a whole note on it; cut a square in half and place a half-note on the half square; do the same for quarter and eighth notes. Play the rhythms on the drum and have the students clap on every beat. Then have them move on every beat; then move and clap on every beat.
Activity:
Using a student's name, e.g. Bob-by Smith (3 syllables, short, short, long), place the two quarter notes and one half note on the appropriate colored squares. Beat the rhythm on the drum having the students clap the rhythm, then move to the rhythm several times. Have student volunteers clap the rhythm to their name with the class following their lead. Have the class choose an order for names to create a name dance. Beat the rhythm for the dance with the students moving to it.
Assessment:
Show the students the notes and have them clap the time. Discuss with the students how well they worked together.

Maureen Innes resources from early childhood to upper primary

Extension activities : lower primary

A coiled up snake

Need: thin card, paint, texture tool, thin ribbon or string, paintbrushes, palette.Draw a coiled up snake. Paint it and then comb patterns into it. Cut out the snake and hang it up.

Swirling String Pictures

Need: Sheets of paper, string and paint, old saucers, a paintbrush.
Fold a large sheet of white or colour paper in half. Then smooth it out again.
Cut two or three lengths of string. Then put two or three different coloured thick poster paints on to some old saucers.
Stir each piece of string into a different colour. Make sure they are completely covered with poster paint.
Lay the strings down on one side of the paper, Arrange them any way you like with the end poking out over the edge.
Fold the paper in half again with the string inside, then gentle smooth it down with your hand.
Hold the paper down with one hand and pull out the strings one by one by the ends. Carefully open out the paper.

Mirror Paintings

Fold the paper in half, and then ask the students to paint quite thickly on one side of the paper. Alternatively they can just paint in the middle, if they find the above too difficult. Fold the paper in half and press hard to impress a mirror image on the other side of the paper.

Beautiful Bubbles

Squeeze about one and a half cms of washing-up liquid into a plastic container. Add a spoonful of wet paint or ink and mix them up.
Add a few drops of water. Then blow into the mixture with a straw until it bubbles over the top of the container.
Lay the paper on the bubbles for a few seconds. When you lift it off you will see a pattern. Cover the paper with patterns.
If it doesn’t work the first time experiment with the bubble mixture. Add more water if it does not bubble properly.
If the colour is not strong enough to see, add some more paint or ink to the bubble mixture, as shown.
Lay the finished bubble painting out float on to some newspaper to dry. Make another picture while you are waiting.

Lower Primary Activity

Secret Drawings

Need: White candle or white wax crayon, white paper, dark coloured wash, paintbrush, newspaper to cover desks.

Draw a picture using a white candle or crayon on white paper. Press hard and make the lines thick.
When you have finished drawing, brush over the sheet of paper with a dark vegetable dye, food colouring or ink wash.
Your picture will appear because the paper will absorb the wash but the candle wax will not.

Middle Primary Activity

Am I hot or cold?

Discuss the difference between cool colours and warm colours. Have student choose three cool colours or three hot colours and paint them next to each other on a piece of art paper, blending the colours where they touch. Ask students to choose a scene that is appropriate to their colour scheme, for example sea creatures, a country landscape or buildings. Have them cut out images from black paper to create an appropriate silhouette.

*The Fauves

The Fauves were a group of artists who broke many of the traditional rules of painting. For this they were considered to be wild beasts. (‘Fauves’ means wild beasts in French.) But all they really did was paint things in different colours than they actually were in real life. Draw or copy a scene. Paint it in colours that are different to the real life colours.

*Air Art

Need: Art paper, watery paint or inks, straws, felt tip pens, newspaper to cover desks.
Put a drop of paint at the bottom of the page.
Blow through the straw, pointing it at the paint, and then blow the paint across the page.
Add more paint as you wish, to create more of the design.
Turn the page around and view it from each angle. Decide what it looks like. Use felt-tip pens to add extra line work to add more detail to the picture.
*Need: thin cardboard, wax crayons, ink or vegetable wash, paintbrush, newspaper.
Draw  a picture in bright-coloured crayons. Colour your picture carefully and make sure the crayons are thickly applied.
Brush a contrasting coloured wash over the whole page and over the drawing. This looks best with light coloured crayons and a dark wash or dark crayons and a light coloured wash.
Hang your picture out to dry.
*Need: Paper, acrylic paint, paintbrushes, palette, scissors.
Use an overhead projector to draw the outline of your friend’s face on the wall. Ask them to stand sideways so that the side of their face casts a sharp shadow outline on the paper.
Paint around the silhouette or draw around it and paint the line afterwards.
You could also try the vase/face activity by asking your friend to also turn to the right and drawing their profile again. When you glue them with a small space between them they appear to make a vase.

Upper Primary

*The Nightmare

Photocopy a photograph of your head. Cut it out and paste it in the centre of the page. Using dark watercolour paints, paint lines around the cut out add to create a scene that has a scary mood. Add figures or symbols to create a nightmare scene, using dark-coloured watercolour paints.
(If you slightly move your photograph on the copier while it is copying it will produce a warped effect.)

*Pointillism

Draw a quick outline sketch of a scene. Then use paint and cotton buds to make dots or small dashes to colour in the areas. Use three tones of the same colour in each area of colour, for example a light, medium and a dark blue for the sky.

*Vase of Flowers-Draw a vase shape approximately (teacher to indicate measurements depending on size of paper), making sure the top of the vase doesn’t come above the line. Draw five or six imaginary or real flowers. When drawing the flowers and leaves, make sure you make use of the whole space. Paint in the design with watercolour paints. When dry, trace over the design with a thick, black felt-tip pen.

*Strange Distortions

Some artists distort real images to create their artwork. Show students how Picasso paints his images from a number of different angles or how Salvador Dali melts or elongates his images. Have students attempt to draw an object or person using any of the following distortion techniques: melting, stretching, making some parts thin or fat, drawing something, cutting it up, reassembling it in a different way and rejoining the lines. The drawings are much more effective when they are painted.

Contour Painting

Using contour lines, draw a series of hills and then choose a strong colour to paint them. The very top of each hill should be the lightest tint of the colour you have chosen, and the very bottom should be the darkest. You should be able to see the colour change gradually on each hill.

From Maureen Innes -Visual arts lesson year 4>

BLIND CONTOUR DRAWING

ARRGHH! But I CAN’T draw!!!!!

Drawing can be stressful to us as both learners and teachers. You may believe that you yourself cannot draw, and sadly, you are bound to encounter students who have convinced themselves that they also cannot draw for a wide and varied range of reasons.

Let’s make this point very clear…

BEING ABLE TO DRAW DOES NOT MEAN THAT YOU CAN DRAW A PERFECTLY REALISTIC IMAGE OF SOMETHING!! IN ORDER FOR IT TO BE A ‘GOOD’ OR ‘SUCCESSFUL’ DRAWING, IT DOES NOT HAVE TO LOOK LIKE A PHOTGRAPH!!

Besides, what is the point of drawing something that looks just like a photograph? We have cameras these days to do that job!

Drawing can be anything. It can be incredibly simple. It can be an impression or an expression of something.

I would like to present you with an effective ways to break that mindset of feeling the need to draw exact replicas of things.

Blind Drawing

This is a very quick and fun (although potentially a little unsettling and difficult!) activity for you to do yourself or with your class of students. You will need an art journal or blank reflex or cartridge paper, and a 2B or 6B pencil for this exercise. To extend this activity into the next stage, you will need some coloured pencils.

Step 1: Open your visual diary to a blank page. Place the hand that you do not draw with in front of your face, about 30 centimetres from your eyes, or at whatever distance is comfortable for you to see it clearly.

Step 2: Turn your body away from your page and drawing hand so that you cannot see the page. You might like to secure your page on the table with some tape or blu-tack if you are using a single sheet.

Step 3: Place you drawing hand on your blank page with your pencil ready

Step 4: Look at your hand in front of your face. Begin to draw your hand without looking at your drawing hand or your page. Your pencil must not leave the page, nor may your eyes move from the hand in front of your face. No cheating! RESIST THE URGE TO LOOK AT WHAT YOU ARE DRAWING!!

Step 5: Have a look at your ‘handiwork’. It should look pretty crazy. Maybe it will look something like this (I’ve done one using my drawing tool)

The purpose of this activity to engage communication and connection between visual perception and fine motor skills. You are drawing what you SEE rather than what you KNOW. You will desperately want to look at your page and raise your pencil, but you must resist! In a class situation, kids really get a laugh out of the drawings they create. They will all look crazy. This is a great drawing ‘ice breaker’ to remove some of the self –imposed pressure many students will place upon themselves to draw ‘realistically’.

Step 6: As an extension, you can have a go yourself at turning your ‘hand’ drawing into a weird creature, by giving it a beak or eyes for example, or by filling in parts with experimental patterns.  Have a look at this link to a bird pun drawing activity (Princeton Online: The Incredible Art Department). You might be able to use the blind contour drawing you have made of your hand to get you started on your own bird or any other animal ‘visual pun’.

Colour Theory

I find Colours are my weakness, and I never bother to learn about it. My habit is drawing but with out any colours. I believe that colours are the results of miracle which push me believe that those aritists are  magicians. The lesson plan is the simple one with facts only. We can use what we had learned in the tutorial (biscuit colour wheel) to implement colour thoery lesson. However, are there any good ideas on colour theory which are interesing as well as easy to accomplish? ---Lina

 

 

 

Teaching Primary, Secondary, and Tertiary Colours

Primary Colours

Colours that "cannot be obtained by mixing other hues, but one can produce all the other hues by mixing the primaries." (red, blue, and yellow)

Secondary Colours

Colours "made by mixing their adjacent primaries; for example, yellow mixed with blue makes green."

Tertiary Colours

"A mixture of primary and secondary hues: yellow-green is a mixture of the primary yellow and the secondary green."

To get a better feel for this, go and look at some on-line art and examine the works with primary, secondary and tertiary colours in mind.

For the classroom, primary, secondary and tertiary colours can be the focus of any art lesson. Some ideas:

• Rubbings with crayons; the layers of crayon will show the mixing of the colours.
• Mixing coloured play-dough
• Make color paddles out of cellophane with red, blue and yellow in tagboard frames.
• 'Mix' colors by holding color paddles together.
• Mix colored water together and see what colors they make.
• Add white and black to different colors and see what happens.

Books

Colour wheel image and quotes from Drawing: a Contemporary Approach Third Edition, Claudia Betti and Teel Sale, Pub. Harcourt Brace Jovanovich, 1992.

Internet Resources

My Many Colored Days by Dr. Seuss

Music Speech Rhyme - Three Bears

"Three Bears" Speech Rhyme

(Knee-clap )
Once upon'a time, in a nursery rhyme there were three bears. ( *** ) = finger snap.
(Knee clap )
A Mama and a Papa and a wee bear, ( *** )
( Knee clap ) .
One day they went a-walking and a-talking in the woods.
(Knee clap)
Along came a ,girl with long curly hair, There were three bears ( *** )
(K.neeclap)
A Mama and a Papa and a wee bear. ( *** )

(Alternate knee pat)
"Someone's been eating my porridge", said the Papa bear.
(Hands on off shoulder)
Someone's been eating my porridge", said the Mama bear.
(Alternate finger snap )
'Hey Mama three bears", said the little wee bear..
( 3x2 = clap, knee knee. )
"Someone has broken my chair!"
(Knee clap)
Goldilocks woke up and broke up the party.
( Right hand wave)
''Bye, bye, bye, bye, bye, bye, bye", said the Papa bear.
( Left hand wave)
"Bye, bye, bye, bye, bye, bye, bye", said the Mama bear.
( finger snap )
''Hey Mama three bears", said the little wee bear.
(3x2 = clap, knee knee. )
"Someone has broken my chair!" Yeah!

Music Speech Rhyme - boom chicka boom

''Boom Chicka Boom" Speech Rhyme:"

Leader: "I said a-boom chicka boom"
Group:  ''I said a-boom chicka boom"

Leader. "I said a-boom chicka, rocka chicka, rocka chicka boom"
Group:  "I said a-boom chicka, rocka chicka, rocka chicka boom"

Leader: "Oh yeah"
Group: . "Oh yeah"

Leader: "Alright"
Group: "Alright"

Leader: "One more time" ( pat your knees)
Group: "One more time" (pat your knees)

Other verses:
(clap your hands)
(pat your knees)
(knees and hands)
(real' fast)
(real' slow)
(real' high)
(real' low)
(real' loud
(real' soft)
(that's enough)
(lets stop)

This is'a great leader/response chant where the children simple echo the ' rhythmical chant of the leader. It is very quickly learned and a good activity for establishing and developing a strong sense of beat. When children accompany their chanting with a knee-clap patten they are experiencing the Cut Common Time beat ( q; )with an accent on the 2nd and 4th beats. This off beat 'feel' is very common in popular music. It also gives children an opportunity to experience the basic elemental concepts of, fast-slow (Tempo) high-low ( Pitch) Loud-soft (Dynamics).

Bill's music lesson plan

EMT694 Introduction to Arts Education MUSIC
My Musical Story	Everyone has a musical story. Write down some of your own experiences with music over your life that may have contributed to your musical story – to how you view music today. Complete the sheet provided for this purpose. You may like to blog your story or post it in the Music discussion board.
Making music in a group - Music Name Game:	1.       Video: My name’s... 2.       Use the link to the audio ‘My name’s...’ and have a go at this task yourself. Listen to, practice and play along with. This is intended as a circle activity, where students sit in a circle and take turns saying their names one after the other, to the words/chant ‘My name’s X, what’s yours?’. The accompanying track allows you to practice this but you don’t really need it for students. If you listen carefully to the track you will hear instruments keeping a steady, repeated beat. This is called an ‘ostinato’ (refer to Glossary) and is very common in music education – we shall be using all the time. This is a simple four beat/count pattern that repeats. As you listen to it you will notice that there are a number of repetitions of the ostinato after the initial names are used where no one says anything – this is intended for others to say their names in the circle the ostinato keeps going. Try joining in. Did you notice that not everyone’s name sounds the same – John for example is simple it is a one syllable name. Gabi however has two syllables. Evrapides has four syllables. No matter what the name is - the underlying pulse/beat of the ostinato stays the same. The challenge is for people to add their names into that one beat/pulse. This is different – this is duration and rhythm (see Glossary). The duration of the ‘notes’ chanted is different but the underlying beat/pulse remains the same. So John is simple it is one syllable on one beat. Gabi is a little more complex it is two syllables on one beat – so the name will be said quicker to fit it into the one beat. Evrapides is three syllables on one beat – so the name will be said quicker to fit it into the one beat. Practice this with and without the CD accompaniment, until you’re comfortable with it and then try it out with others. Now try making up an ‘ostinato’ of your own as you say the chant. It needs to have four beats or pulses (done twice) for each repetition of the chant. Once you have worked out an ostinato – this could simply be clapping on each beat – practice getting it going and then adding words. So you could try: Chant My name’s John silence silence What’s yours? silence Ostinato clap clap clap clap clap clap clap clap Count 1 2 3 4 1 2 3 4 Or: Chant My name’s John silence silence What’s yours? silence Ostinato Slap slap clap clap Slap slap clap clap Count 1 2 3 4 1 2 3 4 Now, try any ostinato you can think of. You can change the chant too if you want. The learning embedded in this activity could be summarised as: keeping a steady beat, creating an ostinato, saying a simple chant, listening to others. Well done you’ve started to listen, create and perform music!
Music – concepts and processes:	1.       Music is ‘a unique way of organising and making sense of sound... Music involves expressing ideas and forms in natural, acoustic and digital environments. Through learning to make sense of sound, humans appreciate and value the aesthetic qualities of music and express feelings, ideas and identities’ , and encompassing ‘a wide range of sounds, from natural and found sounds through to those generated by conventional musical instruments and electronic technologies. We organise these sounds by manipulating pitch, rhythm, dynamics, harmony, timbre, texture and form to develop musical ideas and create musical works’, and as ‘a fundamental form of both personal and cultural expression. As social and historical texts, musical works use a range of traditional and alternative signs and symbols, both heard and seen’ (Department of Education, Tasmania, 2007, p. 119). Music is unique as expression, communication and meaning-making through SOUND. 2.       Music is the intentional organisation of sound and silence. Music includes an understanding of the three main musical processes – listening to music, creating music and performing music. These are the ways we ‘do’ music. Music also has certain aspects or concepts that make it unique, these are musical ‘concepts’. There are eight of these: pitch, rhythm, dynamics, harmony, texture, tempo, timbre and form. Think about these and try to identify some of them. The first activity we did was based around beat (keeping a steady beat with our hands), rhythm (fitting the syllables of our name in with the beat) and tempo (speed). The next activity we do may actually include all of these concepts!! 3.       The three processes of music are: listening, creating and performing – these are the way we ‘Do’ music. Musical Concepts Definitions See Department of Education, Tasmania. (2007). The Tasmanian Curriculum. Arts Curriculum Area. Author. (pp. 146-149). Downloaded from: http://resources.education.tas.gov.au/item/edres/1e956148-5841-2dba-ef9d-1e03185e9025/1/syl-Arts-all.pdf Pitch The frequency of vibration of a sound. Faster vibrations produce higher sounds, slower vibrations produce lower sounds. Rhythm A sequence of sounds and silences of varying duration controlled by an underlying regular beat. Dynamics The volume (loudness / softness) of sounds. Harmony A combination of two or more sounds of different pitch. Texture The density of sound, controlled by the number and volume of parts at any particular time. Tempo The speed of the music. Timbre The characteristic sound of an instrument. Form The structure or overall plan of a piece of music. Musical Processes Listen, Create and Perform
Soundscapes - Video and Activity:	Watch these two videos. 1.       Hearing or Listening? Find a sound of your own - start. 2.       Find a sound of your own - scaffolding learning and language. Making a soundscape. 1.       The concept of a soundscape is derived from the visual arts use of the word landscape – in music a “soundscape” is a “picture” in sound. The soundscapes in the video use various found “sound sources”. 2.       Find and experiment with a sound of your own, experiment with how you make the sound: length, volume, repetition, high/low. See Tasmanian DoE Glossary link. 3.       If you have others to work with extend your soundscape by including other people. If you are on your own collect and use a series of different sounds and put them together to form your soundscape. If you have others to work with you will need to discuss the role of the “conductor” – and the use of different agreed gestures to indicate the duration or length of sounds and other concepts such as dynamics or volume (see Glossary). 4.       Perform and if you can record your soundscape – you can use any recording device at all – mobile phone, a laptop or an MP3 device, or even just a plain old tape recorder. Listen to recording and discuss or reflect upon it.
Soundscapes - Extension Activity:	Can you make a soundscape that is based on the idea of a ‘machine’? This might include repetitive, metallic sounds or sounds like ‘air’ or ‘steam’ or ‘bells’ – the possibilities are endless. You can use saucepans, bottles, pencils, pencil cases, zippers, your voice - any sound sources that you want! 1.       You can approach this activity in two ways: you can work on your own completing what you can, or you can work with friends or family to help your learning. Either way you can engage in this task. 2.       Try recording the soundscape on paper. Write down pictures to represent the sounds you have selected. This form of notation usually takes a pictorial form – students use pictures to represent sounds, for example if they are including a ‘rain’ sound they may draw a cloud with lines descending from it. This form of notation is called ‘graphic’ notation and we shall be looking at two types of this notation in more detail in Week 4. The focus of this activity is the exploration of sounds and the subsequent representation of those sounds. 3.       Your task in this learning activity is to work in your educational context or with your support group/person to create and perform a soundscape, notate this soundscape somehow (graphically). The soundscape should seek to represent a ‘machine’, so it may include repetitive sounds, hard sounds, sharp sound, noisy and loud sounds, starting and stopping sounds. Once again you don’t NEED to use instruments for this activity – any sound is fine. If you want a big metallic sound why not use a frying pan and a ladle? 4.       This task is also about engaging with the musical concepts of “layering” sounds on top of one another to make a combined sound, “repetition” of sounds, “duration” of sounds, dynamics (volume) of sounds and the musical concept of “instrumentation” – selecting and using sound sources (see Glossary for these terms). 5.       Discuss/reflect on different ways to “notate” the sequence of your sounds – in a sense this is also another musical concept – structure – how sounds are put together. 6.       Listen to the soundscape and refine it as you think best, and finally perform the soundscape. Refer to the notation you have made for it. 7.       Notice how already you are using the three key musical processes of listening, creating, and performing and working with some of the musical concepts – your language for music is evolving! 8.       Can you identify which of the eight concepts you may have used?: pitch, rhythm, dynamics, harmony, texture, tempo, timbre and form. This will vary of course depending on your soundscape. 9.       You actually used ALL of the processes – you were listening to each sound you found or experimented with, you created – by making the sounds and you performed when you played your soundscape through. How great is that!
Rhythm, notation and movement – Video and Activity:	1.       Watch the Video ‘Potions in the pot’ 2.       “Potions in the Pot”. In MyLO this week you will find a copy of the music for the piece entitled ‘Potions in the Pot’. Watch the video and complete the activity with Bill. Learn the rhyme and the actions for “Potions in the Pot”. Do this sitting with and without body percussion. Move in a circle using footsteps as the beat. This week’s four videos are all about learning a rhyme in different ways: echo chanting, ostinati, movement and beat. As the video is going – join in with the action – do it yourself. Stirring, Stirring Potions in the Pot. In the PowerPoint presentation see how I have used the notion of what students already know and can do to translate into music notation. Once you have viewed the presentation and have joined in with the activity look at the handout for this week and see if you can make the connection between what you have done and what can be notated from that. Note the process – ‘sound before sight’ 3.       Rhythmic Notation. Using the rhyme as a starting point write the words of the whole rhyme on paper. Add syllable lengths to these – longs and shorts (l) and (s). Make up other symbols for these lengths of sound, e.g. ê = long and  c = short. Add French time names to these – Ta for long, Ti for short, Ti-Ti for short-short. 4.       If you don’t ‘get’ it – this is no biggie. Just think about it and try to get that there is a link to what you have done as embodied learning by doing and one way of writing this down.
Three Musical Processes - Activity	The Four Seasons – listen then create and then perform ‘The Seasons’: tracks 16, 17, 18, 19; 1.       What is the difference between ‘listening’ and ‘hearing’? How important is ‘intention’ to the process of listening? How can we ‘learn’ to listen better to our world and to the music we listen to? 2.       When we listen what happens? (response – emotional, mental, physical?). Genuine listening activities should enable students to respond to music in these ways. If music is a means of communication and expression – then what is the place of the listener in this experience? 3.       Concepts once again are the window into listening, hence their importance as the first of the three musical processes of listen, create, perform. The 8 musical concepts provide a common language for listening and discussing what we hear. 4.       Campbell on listening, provides an approach to scaffold listening activities, three phases of critical listening. Note that the final phase (N-Act) of the process is a true TMU phase including all three musical processes 5.       Today we will use the set of tracks under the ‘Seasons’ theme to undertake an N-Act phased listening activity. ‘The Seasons’ are excerpts from the music of Antonio Vivaldi ‘The Four Seasons’ representing each season in music and offer a wonderful way into listening. 6.       Just because a composer intends the music to be ‘representative’ of something doesn’t mean that people ‘hear’ this intention. How important then is the title to an art work – musical or visual? Each piece of music has a description. 7.       Brainstorm ideas about each season and write down descriptive words for each. 8.       Listen to each of the excerpts and locate these from the text – track 16 = Summer storm; track 17 = Spring; Track 18 = Winter; and. Track 19 = Winter too (how is this different)! 9.       Listen, create and perform using ‘seasons’ theme. In small groups (you and maybe family members or friends) students may now select one season and create a piece of music representative of this season to them. This task is dependent on numerous variables. You may want to stipulate certain criteria, such as: you need to include a melody and an ostinato, it must have a beginning, middle and end, or you must conventionally notate the melody and ostinato and graphically represent the whole piece. These parameters are all dependent upon time and age and skill base. 10.    The MOST IMPORTANT part of this activity can often be the discussion that then ensues. Why do you think that? Why did you choose to use that instrument in that way? How different was it to the pieces of music about seasons that we have already listened to?
Summary:	1.       In this week you have learnt about, experimented with and constructed music and sound using the activities designed. 2.       The intention of these activities is for you to be able to DO music yourself, to experiment for yourself, and to think about the musical concepts and processes. 3.       You should be thinking about ways to apply these into your classroom now. 4.       What does this look like for you?
Refer to:	1.       Music Glossary. Tasmanian Department of Education. (2008). The Tasmanian Curriculum Arts Curriculum Area K–10 syllabus and support materials. Hobart: Author (pp. 146-152). 2.       My Musical Story 3.       Potions in the Pot