BioMusic
Author: | Debra Hall & Crystal Patillo |
Level: | Elementary School |
Content Area: | Science, Music |
Author: | Debra Hall & Crystal Patillo |
Level: | Elementary School |
Content Area: | Science, Music |
Animals communicate using sounds. Animal vocalizations can represent calls, hollers and/or songs. Some animals have deeper sounds and create lower sounding calls or songs. Others have higher sounding pitches. Animals create certain vocalizations based on environmental factors.
The students will recognize that animals communicate with various sounds and pitches. The students will identify the difference between high and low pitches. The student will represent the sounds aurally, graphically and kinesthetically.
Content Standard A: Abilities necessary to do scientific inquiry
Content Standard B: Physical Science
Content Standard C: Life Science
Content Standard E: Science and Technology
Goal 2: The learner will play on instruments, alone and with others, a varied repertoire of music. (National Standard 2)
Goal 3: The learner will improvise melodies, variations, and accompaniments. (National Standard 3)
Goal 4: The learner will compose and arrange music within specified guidelines. (National Standard 4)
Goal 5: The learner will read and notate music. (National Standard 5)
Goal 7: The learner will evaluate music and music performances. (National Standard 7)
Goal 8: The learner will understand relationships between music, the other arts, and content areas outside the arts. (National Standard 8)
Goal 2: The learner will understand choreographic principles, processes, and structures. (National Standard 2)
Goal 3: The learner will understand that dance can create and communicate meaning. (National Standard 3)
Goal 7: The learner will make connections between dance and other content areas. (National Standard 7)
One 60 minute period
Read students a book about frogs and ask students what kind of sounds frogs make? Ask them how they can represent frog sounds?
Listen to the Spring Peeper frog and the Bullfrog recordings. Have students write descriptive words about each frog’s call. Ask students how they could represent the sounds of the frogs without using words. Allow students to listen to the call several times and take suggestions from the students about how they will represent the sounds. Offer students the use of small and large stickers. Ask students to make a representation of the Spring Peepers call and the Bullfrogs call using only the stickers. Using music manuscript paper have students notate rhythmic and melodic representations of the sounds. Melodic notations may replicate high and low pitch instead of actual melodic notes or intervals. Rhythmic notations should accurately depict rhythmic patterns of the frog song.
Have students explain their representations in their notebooks and share with a partner. Have students play notated rhythmic patterns for accuracy. Discuss why the small and large stickers were chosen. Discuss the correlation between the small stickers and the higher pitches/notes and the large stickers and the lower pitches/notes. Specify that high and low pitch is different than high (loud) and low (soft) in dynamics (volume). Students will distinguish the difference in frequencies and loudness.
Have students use melodic instruments to distinguish differences in pitch. Students will utilize melody bells, glockenspiels, metallaphones and/or xylophones (any instrument discriminative of pitch may be used) to identify high/ low pitches and replicate the sounds of the Spring Peeper frog and Bullfrog recordings. Model representations with stickers. Let them demonstrate their musical representations to the class. Facilitate student discussion on what they heard. Discuss how individual performances resemble and differ. Discuss call and response. Identify which recordings used call and response, solo and/or a duet. Correlate connections of rhythm, melody and how they establish patterns. Create a short composition of melodic and rhythmic ostinatos from student improvisations. Divide students into five sections/groups (A,B,C,D,E). Group A will represent the melodic call of the Spring Peeper frog, Group B - melodic call of the Bullfrog, Group C - rhythmic pattern of the Spring Peeper frog call, Group D - rhythmic pattern of the Bullfrog while Group E will continuously play the steady beat. Groups C,D and E will play their ostinatos for 4 measures in 4/4 time signature. Groups A and B will replicate the frog’s call by playing their pattern for 2 measures then play the melodic pattern in reverse for 2 measures. This altered pattern will create an original composition. Students can elaborate on how individual sounds collaboratively create harmonious music. Students may rotate the group assignments if time permits.
Venn diagram comparing the Spring Peeper and Bullfrog sound. Evaluate individual and group performances.
Students will incorporate locomotor and non-locomotor movement to represent high and low pitches. Movement should reflect high, medium and low levels of the dance curriculum. Encourage students to “travel” thru their personal and general space. Students will utilize the previous 5 group/section concept and apply it to kinesthetic movement to imitate the sounds of the Spring Peeper frog and the Bullfrog. Groups A and B will express their melodic sounds through locomotor movement. Groups C and D will portray their rhythmic sounds through locomotor movement. Group E will create non-locomotor movements to replicate the steady beat. Kinesthetic representations should emphasize the actual movement of sound instead of the animal. As groups share their improvisations “thread” the groups choreography to create a kinesthetic soundscape.
Solitudes Frog Song Nature Sound Recordings by Dan Gibson