GROVE (TESL 2B) by Amanina Binti Mohd Abdoh

MUSIC AND MOVEMENTS

amaninabdoh — 2014-10-31 06:14:02 UTC

1 a) SOCIAL DEVELOPMENT

- Music links children to their cultural heritage, assisting them to acquire cultural beliefs and values. Listening to music also exposes children to other times and cultures and provides the opportunity to gain appreciation for them. In addition, as children create music together, they engage in a metaphorical experience, where different instruments combine to make a unique sound that no individual instrument could produce. Through this process, they learn that to make beautiful music, you must have unity and work together.

http://www.education.com/reference/article/music-center-enhance-children-development/?page=2#

b) PHYSICAL DEVELOPMENT

- As children create music, they improve fine motor skills, coordination, and rhythm. Music also entices one to move and dance. Participating in movement or dance activities while listening to music enhances children’s ability to sequence sound, recognize and respond to rhythm patterns, and discriminate melodies (Ferguson, 2005). As children dance to music, they increase coordination, flexibility, and motor skills. They develop body awareness and self-confidence. Like music, dance is an art form and a means of communication. Through dance, children communicate feelings, thoughts, and cultural values and beliefs.

When Curious Minds provided dance props in the music area, the children became more interested in using the center. They would often dance in front of the three full-length mirrors while rhythmically moving streamers or scarves. At other times, they would dance while playing a musical instrument. Young children naturally respond differently to sound and silence, fast and slow music, and different musical styles (Metz, 1989). However, adults can enhance children’s movement repertoire by describing what children are doing, making suggestions, and modeling movement. Adults are powerful models. In one study, children using a music center during free play copied two-thirds of the teacher’s modeled movements (Metz, 1989).

http://www.education.com/reference/article/music-center-enhance-children-development/?page=2#

c) COGNITIVE DEVELOPMENT

Many studies have found a correlation between music abilities and academic achievement (Shore & Strasser, 2006). Music can aid in all areas of the child’s development. A study of 106 preschool children found that those exposed to a systematic and integrated music program significantly increased their motor, cognitive, language, and social-emotional scores as assessed by the Preschool Evaluation Scale (McCarney, 1992).

Singing relevant songs can help children to learn science, math, and language concepts (Miche, 2002). History and geography can also be enhanced by examining the music of the time period or geographic area. Music can also assist with memorization. When items to be memorized are set to music, children remember them more readily (Sawyers & Hutson-Brandhagen, 2004).

Music is organized mathematically; music and math support one another (Sawyers & Hutson-Brandhagen, 2004, p. 46). As children hear and move to a beat or read music, they use one-to-one correspondence skills. As they recall a series of sounds or actions (head, shoulders, knees and toes) they gain seriation skills.

There is also a strong relationship between music and spatial-temporal intelligence (the ability to visualize and mentally manipulate spatial patterns). A review of nineteen studies found this relationship was even stronger if children also learned music notation (Hetland & Winner, 2001). Other studies support these findings. When researchers assigned preschool children to computer lessons, piano lessons, singing lessons, or no lessons, those who received piano lessons showed a 34% increase in spatial-temporal intelligence while there was no change in children in the other groups (Shaw, 2003). Researchers found similar results in elementary age children (Schellenberg, 2004).

Although there were reports that children who listen to classical music at an early age show greater learning potential (sometimes referred to as the Mozart Effect), this claim has been refuted (Shonkoff & Phillips, 2000). Currently, there is no evidence to support a link between listening to music as an infant and brain size or school success (Fox, 2000; Hetland & Winner, 2001). However, one thing that we might learn from the study of music’s effect on adults is that brain development appears to be related to active engagement with music (making music) rather than just passive listening to music (Fox, 2000).

http://www.education.com/reference/article/music-center-enhance-children-development/

2- How to know when children are engaged in music and movement in the classroom?

1.Students are mor confident to participate in a group 2. it can improve Social skills 3. it can Express emotions 4. Enhance self‐concept by sharing music and dance of each other’s culture 5. Refine listening skills‐noticing changes in tempo or pitch 6. Awareness of movement and body positions 7. Creativity and imagination 8. Learn new words and concepts 9. Explore cause and effect 10. Develop large motor skills 11. Improve balance, coordination, and rhythm through dance and movement activities 12. Improve small motor skills‐learning finger plays and playing musical instruments.

http://www.niu.edu/ccc/resources/importanceofmusicandmovement.pdf

STORY TELLING

AishahMaulad — 2014-10-31 10:47:34 UTC

Definition of Story Telling

http://www.australianstorytelling.org.au/txt/d-what2.php

http://en.wikipedia.org/wiki/Storytelling

Storytelling is the conveying of events in words, and images, often by improvisation or embellishment. Stories or narratives have been shared in every culture as a means of entertainment, education, cultural preservation, and instilling moral values. Storytelling involves a two-way interaction between a storyteller and one or more listeners. The responses of the listeners influence the telling of the story. In fact, storytelling emerges from the interaction and cooperative, coordinated efforts of teller and audience. In storytelling, the listener imagines the story. In most traditional theatre or in a typical dramatic film, on the other hand, the listener enjoys the illusion that the listener is actually witnessing the character or events described in the story.

Why Story Telling?

http://shamali288.wordpress.com/2013/06/30/using-storytelling-in-classroom/

Teachers use storytelling in language teaching for several reasons. One of the preliminary reasons is the funny and entertaining atmosphere storytelling creates in the classroom. A teacher of English needs to be imaginative, creative; and telling stories in English Language Teaching can surely assist to make the process of teaching and learning more motivating, interesting and interactive. These are some of numerous reasons for using storytelling effectively in your classroom:

Promotes a feeling of well being and relaxation.

Increases children’s willingness to communicate thoughts and feelings.

Fosters awareness of one’s unique imagination and creativity.

Builds verbal self-confidence.

Integrates multiple learning contexts (reading, listening, speaking, writing, grammar, vocabulary)

into a single instructional input.

Builds community chemistry.

Enhances reading, listening and critical thinking skills.

Fosters teacher-learner collaboration (Fitzgibbon & Wilhelm, 1998).

Enthralls empathy.

Steps For StoryTelling

https://www.linkedin.com/today/post/article/20140405112844-40671440-5-steps-to-successful-storytelling

Understand your brand and audience; speak in an authentic voice

This one’s about tone and character.A well-defined brand should have a distinct voice and character, just like every person you know. Do your homework and learn about the brand, the history, what it means, and how it sounds. Then let that tone come through in your story.

Get your facts straight with 5 Ws

The five Ws of journalism lay a solid foundation to build a story. Some advocate the addition of the H, “How did it happen?” at the end of your five Ws. You’ll find the answer to that question often comes in bits and pieces from the first five, so you may not need it, but it’s worth considering. Don’t be slavishly devoted to this list and end up with phrases like “our story takes place on a dark and stormy sea on March 2, 1987.” Rather, use this understanding to reveal this information as you go and answer questions you may ask yourself as you tell your story.

The power of specifics, details, and imagery

There’s an unmistakable power to facts and details. They provide an anchor for our attention, a seed for our imagination, and a proof point to your claims. Like a magician, a skilled storyteller will direct an audience’s attention to something important and away from the insignificant. Describing a specific trait or quality of a character can take them from flat to fascinating, and the inclusion of specific facts can change a vague generalization to a confident assertion.

Show, don’t tell

This is about exposition, creating interest, and avoiding information dumps. The difference between telling a story and recounting facts lies in the style of the telling. Your protagonist might be afraid of cats. Which is more interesting, stating that “Bob is afraid of cats,” or recounting why he’s afraid of cats? You might recall an instance when his fear of cats caused him a problem. That’s the heart of telling a story. It’s the difference in stating a fact and painting a picture. Let the audience realize something on their own, and not only will they stay interested, but they’ll be more likely to believe it. You didn’t tell them, they figured it out.

Know the end at the beginning

In an ideal world, you’d start your story with an outline, a framework of plot points intended to move your story from A to Z, perhaps with some detours and misdirection, but still always moving forward. Sometimes, you don’t know the end when you start, but when you finish you must revisit the beginning to ensure you started your audience in the right direction.

The alternative is a meandering mess, a story without purpose

that lags in the middle and wanders its way to a sluggish end. It’s easy to get lost in your own descriptions and forget what needs to happen when; plot points and outlines keep you focused. Although, some storytellers loathe outlining a story, preferring it evolve organically. That method means revisiting your openings to foreshadow key action points and provide misdirection or actual direction.

Whether you start knowing your end, or discover it when you get there, the beginning of a story should hook your audience as soon as possible. Pointing to the end, obviously or not, is one way to get it done.

MUSIC AND MOVEMENTS

azfapurple — 2014-10-31 10:53:08 UTC

3- The activities in this section are effective in helping children:

demonstrate an awareness of music as a part of daily life
develop kinesthetic pattern recall
develop spatial awareness
engage in play with "rules"
exercise cooperation and social interaction
gain sequential recall
learn to interact with and communicate with others
participate freely in music activities
respond through movement to music

"The Telephone Rings"

This song is a playful way for children to sing their names at gathering time. This experience also suggests to children that singing is a natural part of their lives as they pass the telephone for individual singing.

Procedures

Sing the song several times for the children. Then, lead them in singing it as a group until they all know it.
With the children seated in a circle, pass a toy telephone (which can be simply a u-shaped tube) around.
When each child holds the telephone, it is his or her turn to sing the song, adding the name of the next child at the end.

"Ring Around the Rosie"*

This is a singing game that works for toddlers, preschool, and primary age children. It is an exercise in sequential recall as well as kinesthetic pattern. The children exercise memory and develop a sense of spatial awareness with singing game activities.

Sing this song with the children either turning in a circle alone or holding hands in small groups that walk in circle formation as they sing "Ring around the rosie / A pocketful of posies / Ashes, ashes…we all fall down."
As everyone tumbles to the floor, the teacher quickly begins tapping a beat on the floor and chants the following words to get everyone back on their feet again, "The cows are in the meadow / Eating buttercups / A-tishoo, a-tishoo / We all stand up."
Use this activity as a circle time activity or on the playground or just as a break in the day. It serves the children well as a spontaneous play activity.

*Traditional song and chant material from the collections of John Feierabend.

"Shoo Fly"

Singing games are experiences in kinesthetic art. They also engage the children in activities that develop sequential awareness as well as an understanding of spatial relationships. Singing games are exercises in movement puzzles. Memory and sequential recall play large roles in the thinking of the children. Cooperation and social interaction dominates a singing game activity.

Procedures

Sing the song with the following action:

Children pretend to slap the fly off their knees while singing the lines, "Shoo Fly! Don’t bother me / Shoo Fly! Don’t bother me / Shoo Fly! Don’t bother me, for I belong to somebody."
With partners or alone, have the children turn in a small circle while singing new lines to the tune: "I feel like a morning star / I feel like a morning star / I feel like a morning star, for I belong to somebody."

Have the children repeat the slapping verse again, then sing and circle to "I feel like a rainbow rain."
Repeat the sequence with the words "I feel like a sunshine day" to the verse in which the children circle.
Encourage the children to begin alone and then to add a partner.
After the children achieve a comfort level with these stages, increase the circle size to four and then to eight.

"Pumpkin Patch"

This experience is based on the familiar folk tune, "Paw Paw Patch." This experience enhances children’s development in many areas: in collaborating with others in a group, in playing an organized game with "rules," in following a symbolic representation of sounds, in internalizing a sense of tonality and rhythm through singing, moving, and representing a song through pictures.

Procedures

As the children sit in a circle, sing the song. As you sing the first verse, starting "Where, oh where is dear little [name of child]," everyone in the circle looks for the child named.
As you sing the second verse, "She’s picking up the pumpkins, putting them in the basket … Way down yonder in the pumpkin patch," that child goes to the part of the room designated the "pumpkin patch" and picks up imaginary pumpkins one by one.
Have the children follow the song map as they sing.
Involve the children in new places that Mary may be visiting, and ask them to draw related pictures constructing their own song maps.

https://www.teachervision.com/music/lesson-plan/5352.html

4- How to Teach Music & Movement to Young Children

Many children enjoy listening and moving to music. Integrating some music and movement activities into the lives of young children can teach them new skills as well as help them to appreciate the arts. According to Jerry Storms, author of "101 Music Games for Children: Fun and Learning with Rhymes and Songs," interacting with music allows children to take a break from traditional learning and encourages them to think and learn in new and different ways. Playing games and doing a variety of activities along with music will help children master musical concepts and get some exercise at the same time.

Step 1

Play music and encourage children to dance freestyle. Use a variety of different types of music and show children some different ways to move to the music. Demonstrate ballet moves for slow music and air guitar for faster songs.

Step 2

Give children musical instruments and show them how to play them. Teach children how to march around the room in a parade or marching band formation as they play their instrument. Illustrate how to walk or march to a beat.

Step 3

Teach children songs and actions. Actions can add depth to a song and will motivate many children to participate in singing, write William M. Anderson and Joy E. Lawrence, authors of "Integrating Music into the Elementary Classroom." Make up actions to popular children's songs and invite children to make up their own as well.

Step 4

Show children how to chant in order to teach them the beat. Make up some chants and teach children to clap to the beat. Encourage children to stomp their feet, sway, wave their arms or march in place once they have mastered clapping to the beat.

Step 5

Play musical games that include movement. Try playing a game such as "Freeze Dance," which encourages children to dance until the music stops, when they are supposed to freeze, recommends Storms. Gather many different instruments and have each child try to imitate a sound an animal makes while acting out the animal. Invite the other children to guess what animal is being imitated.

Warnings

· When using musical instruments, make sure you teach children how to use them before allowing them to play so your instruments do not get broken, cautions Storms.

Tips

· If you do not have access to instruments, try making some with your children. Try filling a coffee can with dried beans or using paper towel tubes as trumpets. Empty boxes and wooden spoons make good drums, writes Storms, as do dried gourds.

Things You'll Need

· Music CDs

· Musical instruments

Dating –Video and Photos

STORY TELLING

ainrpin — 2014-10-31 22:55:36 UTC

5- STORY TELLING USING PROPS (PUPPETS)

1 Select the story and appropriate puppet(s). If you know which story you want to tell you can choose a puppet to tell the story as the narrator or find a puppet (or two) to act as characters within the story as you narrate. You can also easily create a puppet with crafts around your home. If you already have a puppet to use then you need to find a story that he can either narrate or act out. Either way try to make the puppet and story match one another as much as you can or play up the mismatch with a lot of humor. For example, if you really want to tell the story of "The Three Little Pigs" and only have a puppet of a chicken you can dress up the chicken with pig ears and a tail or let him be the narrator explaining how chickens always build good houses on the first round.

Learn how to use your puppet. Before introducing your puppet to your audience understand how the slightest movements in the puppet can express different emotions and body movements. Make your puppet happy, sad, angry, bored, anxious or shy. Make your puppet run, walk, sit, stand, and jump. You can practice the movements on yourself, a friend, or in front of a mirror. If your puppet is going to narrate the story or speak to other characters practice making the puppet speak in sync with your voice. If you have two or more puppets practice transitioning between using each one and if you are going to be having a friend help you on story day, make sure to practice with her too. Practice anything else that is particular to your story and don't forget to practice talking to your puppet and have him talk back to you.

Set the stage. Create, find or purchase props and scenery that help in creating the stage for your story. You do not need much. For example, if the story takes place outside in the forest in the rain and the puppet finds a stray dog you can make a tree for the background, an umbrella for the puppet's hand and use a stuffed puppy dog as a prop.

Tell your story using your puppet and props without an audience. Learn from your mistakes and add humor to your story when applicable.

Introduce your puppet to your audience. Build up the excitement of your audience by announcing that you brought a special friend with you to help you tell them a story. Ask them to guess who your friend might be. Give hints if necessary. When the time is right, let them meet your puppet. If the puppet goes onto your hand, turn away from the class or go outside the door to put on the puppet. Never let your audience see you put your puppet on your hand. Have a short introductory session with your puppet interacting with you and your audience before you begin to tell your story.

Tell your story using the puppet. Utilize all the skills you learned when working on your puppets emotions, body movements and voice. Pause in your story for laughter from the audience. Ad-lib anything that seems appropriate to your story at this point that might not have occurred to you during your practice time. When finished with your story, remove the puppet from your hand out of view of your audience.

6- ADVANTAGES AND DISADVANTAGES OF USING PUPPETS

-ADVANTAGES-

- puppets are powerful way to teach children

- puppets are multisensory vehicle for story telling

- create an art and language experience that children can understand

- Children can interact better

http://books.google.com.my/books?id=FT7qflpZECIC&pg=PA4&lpg=PA4&dq=Storytelling+using+props+(puppets)&source=bl&ots=9MHWU07KsJ&sig=disadvantag-rkoH-_rZv9FRw&hl=en&sa=X&ei=jRhUVKbKLYq3uATPpID4AQ&ved=0CCIQ6AEwAQ#v=onepage&q=Storytelling%20using%20props%20(puppets)&f=false

- DISADVANTAGES

- Requires skilled crafting of development - messages into the fabric or the folk media May lack prestige vis-à-vis more modern - May be difficult to organize - close working relationship between development workers and folk media artists