This ECELA Toolkit is specifically designed for the use of ECELA district coaches and teachers to utilize as a guide to important information pertaining to one's role and responsibilities during Year 4 of the ECELA Project. Below includes: Coach/Teacher Deliverables, Music Connections to EL Strategies in Modules, Integrated Arts & ELD Lesson Planning, Instructional Videos, Coaching Support, and tools/resources to support each of you at your district and/or site.
professional learning tools and resources on ELD, Arts Integration, Social Emotional Learning they can be found in the ECELA Open Educational Resources (OER).
Strategies to Develop Literacy through Music/Voice:
Contact Dotti Ysais, Project Director (Ysais_Dotti@lacoe.edu)
OR
Arleen Bates, Project Coordinator
(562) 922-8852
In this strategy, Creative Use of Vocal Sounds, students are asked to work with a small group to use iconic notation to create and then perform a musical composition using only vocal sounds, such as growling, smacking, shushing, etc.
An interesting way to create composition is with the human voice. English learners are already learning how to use their voices in new and unfamiliar ways, so expanding their learning arc to experiment with different vocalizations to make music seems natural. In fact, experimenting with sounds that occur in English and don’t occur in their home language is a way to practice English articulation.
Human voice is one of the most versatile instruments, having the ability to be manipulated to make sounds such as sirens, barking, the wind, etc. and provides possibilities for creating dynamic music. This style of vocal composition generally does not involve singing, but rather uses the voice as an instrument to create sounds and effects that can be combined into interesting music.
English learners must make use of very focused listening to comprehend their new language, even at the more advanced levels of proficiency, and especially when learning the academic language of new content. This focused listening includes listening for linguistic features, such as the organization of a text, how the use of particular sentence patterns, clauses, and phrases impact meaning, and of course, vocabulary. In addition, ELs’ focused listening must also include paralinguistic features, such as intonation, pitch, speed of speech, hesitation noises, gestures, and facial expressions. Listening is very complex but is a skill that English Learners bring to the music experience.
A simple but effective activity for learning to recognize elements of music such as rhythm, dynamics, tempo, and pitch is Focused Listening. This is similar to Close Reading and Close Viewing discussed in previous modules and the focused listening described in the previous paragraph. Focused Listening has an additional benefit of calming and allowing listeners to think creatively. Practicing Focused Listening benefits both English Learners and English Only students and is especially relevant when learning about music.
In this strategy, focused listening, students are asked to listen to draw as they listen to a piece of complex music. Their drawing parallels stream of consciousness writing, in that it is a reflection of how the music makes them feel as they listen. Click the button below to read the article discusses the use of Listening Maps as a way for students to respond to music, encouraging the application of the music terms and concepts studied in Units 2 and 3 of this module.
Singing has always had a place in the elementary classroom and is an activity many adults today still remember fondly. Connecting singing to the ELD standards, the CA Arts Standards, and content standards can serve to joyfully reinforce language and content acquisition.
In this strategy, students follow the protocols for Close Reading to listen to, analyze, and perform a song using rote singing. In the process, students are asked to engage in analytical and reflective discussions with partners, small groups, and the whole class.
Materials
Age appropriate songs, including lyrics and recordings, unless the teacher can accompany the students on an instrument.
Context
Whole class instruction, extended with pairs and collaborative groups.
Instruction
Close Listening follows the protocols for Close Reading in the ELA/ELD Standards, Reading a painting in TEAL Visual Arts, and Reading a Dance in TEAL Dance.
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