-"ghost-of-the-, the gray owl..." In this example, I lowered and softened my voice.- This was to emphasize to convey serenity and the silents of the gray owl

-"Terrible fixed eyes," I increased my volume and pronounced the word louder and more forced.- I did this to show how bad and dangerous the gray owl is and how this is something everyone needs to hear.

Changes in positive/ attitude

• The poem starts soft and calm then goes to how deadly the owl is then goes back to how the owl is barely seen and then gone.

  
  

"Collapsed and died" In this quote I lowered my tone and emphasized the part to create a dramatic effect on how his friend died out of nowhere. I also made my voice sad to show how the author was feeling and changed the perspective.

"Pass it on" In this quote, both of us emphasized this part to show how the author wants people to take the poems lesson, and apply it to their life.

The poem at first is calm but takes a turn when the reader learns that the narrator's friend has died. From that point on the mood was gloomy and the author was trying to teach a lesson.

At her Junior High School graduation,

she sings alone

in front of the lot of us—

her voice soprano, surprising,

almost a woman's. It is

the Our Father in French,

the new language

making her strange, out there,

fully fledged and

ready for anything. Sitting

together—her separated

mother and father—we can

hear the racket of traffic

shaking the main streets

of Jersey City as she sings

Deliver us from evil,

and I wonder can she see me

in the dark here, years

from belief, on the edge

of tears. It doesn't matter. She

doesn't miss a beat, keeps

in time, in tune, while into

our common silence I whisper,

Sing, love, sing your heart out!

—Eamon Grennan

An example of attitude change would be when I say "sitting together, her separated mother and father" because divorce is a sensitive topic for some.

An example of tone and voice change is when in the last part when I whisper "sing love, sing your heart out. "

Snow

Walking through a field with my little brother Seth

I pointed to a place where kids had made angels in the snow.

For some reason, I told him that a troop of angels

had been shot and dissolved when they hit the ground.

He asked who had shot them and I said a farmer.

Then we were on the roof of the lake.

The ice looked like a photograph of water.

Why he asked. Why did he shoot them.

I didn't know where I was going with this.

They were on his property, I said.

When it's snowing, the outdoors seem like a room.

Today I traded hellos with my neighbor.

Our voices hung close in the new acoustics.

A room with the walls blasted to shreds and falling.

We returned to our shoveling, working side by side in silence.

But why were they on his property, he asked.

—David Berman

"Cats circled, Squirrels." In this example, I increased the intensity of my tone to indicate how dangerous the circumstances were for the little sparrow.

"What sends us to each other?" In this quote I softened my voice and slowed down, creating a certain aspect of wonder and pondering the question.

These phrases stand out because they progress the poem in a way that creates a sense of, as said before, wonder and even bewilderment. Also, phrases that stand out like, "love was hungry, love was faceless," is a little confusing, but it a way that makes the readers think about what such a phrase means.

Love comes hungry to anyone’s hand.

I found the newborn sparrow next to

the tumbled nest on the grass. Bravely

opening its beak. Cats circled, squirrels.

I tried to set the nest right but the wild

birds had fled. The knot of pin feathers

sat in my hand and spoke. Just because

I’ve raised it by touch, doesn’t mean it

follows. All day it pecks at the tin image of

a faceless bird. It refuses to fly,

though I’ve opened the door. What

sends us to each other? He and I

had a blue landscape, a village street,

some poems, bread on a plate. Love

was a camera in a doorway, love was

a script, a tin bird. Love was faceless,

even when we’d memorized each other’s

lines. Love was hungry, love was faceless,

the sparrow sings, famished, in my hand.

—Carol Muske-Dukes

1- The perspective might shift when the poem talks about his son starting to do stuff with cars just like he did all his life.

2- A pivotal word that we chose to emphasize was, "Waving". We chose this word because it was one of the words that had a big part in the poem. It repeated itself many times. We did this by changing our tone and volume throughout the recording when we got to the word "Waving". We did this to show how important the word was and to show what a big part of the poem it was.

"My brother kept

in a frame on the wall

pictures of every motorcycle, car, truck:

in his rusted out Impala convertible

wearing his cap and gown

waving

in his yellow Barracuda

with a girl leaning into him

waving

on his Honda 350

waving

on his Honda 750 with the boys

holding a beer

waving

in his first rig

wearing a baseball hat backwards

waving

in his Mercury Montego

getting married

waving

in his black LTD

trying to sell real estate

waving

back to driving trucks

a shiny new rig

waving

on his Harley Sportster

with his wife on the back

waving

his son in a car seat

with his own steering wheel

my brother leaning over him

in an old Ford pickup

and they are

waving

holding a wrench a rag

a hose a shammy

waving.

My brother helmetless

rides off on his Harley

waving

my brother's feet

rarely touch the ground—

waving waving

face pressed to the wind

no camera to save him. "

—Jim Daniels

-When performing this poem I will start off with an uncaring and a regular tone, to show how the writer hasn't quite realized her addiction to her phone or how it has affected her mom. After the quote "My mom never complained about the phone bill", I will start to lower my voice, showing the guilt and regret she feels once she realizes the wall that her phone is building between her and her mom. Finally, I will raise my voice and speak proudly when I talk about her fixing her phone addiction, and "pulling the plug" to show that this is something that she really wants to do.

Examples of Performance Choice:

-I plan to emphasize the word "never". I will raise my voice when I say "never" to show the certainty of this statement, confirming that her mom was very patient and uncomplaining about her phone use, even though it clearly affected their relationship.

-I plan to emphasize the phrase, "I will pull the cord and take you back towards me". I will speak passionately and loudly when I say this phrase to show how serious she is about fixing her phone problem and building a connection with her mom again.

Original Poem:

Poem 009: The Cord

I used to lie on the floor for hours after
school with the phone cradled between
my shoulder and my ear, a plate of cold
rice to my left, my school books to my right.
Twirling the cord between my fingers
I spoke to friends who recognized the
language of our realm. Throats and lungs
swollen, we talked into the heart of the night,
toying with the idea of hair dye and suicide,
about the boys who didn’t love us, 
who we loved too much, the pang
of the nights. Each sentence was
new territory, like a door someone was
rushing into, the glass shattering
with delirium, with knowledge and fear.
My Mother never complained about the phone bill,
what it cost for her daughter to disappear
behind a door, watching the cord
stretching its muscle away from her.
Perhaps she thought it was the only way
she could reach me, sending me away
to speak in the underworld.
As long as I was speaking
she could put my ear to the tenuous earth
and allow me to listen, to decipher.
And these were the elements of my Mother,
the earthed wire, the burning cable,
as if she flowed into the room with
me to somehow say, Stay where I can reach you,
the dim room, the dark earth. Speak of this
and when you feel removed from it
I will pull the cord and take you
back towards me.

—Leanne O’Sullivan

A mood change that happened is at the end when I said "I don't want to find myself sighing and frightened,or full of argument. I don't want to end up simply having visited this world." This is because it went from more of a happy tone to more serious and so I made my voice sound more serious as well.

When death comes

like the hungry bear in autumn;

when death comes and takes all the bright coins from his purse

to buy me, and snaps the purse shut;

when death comes

like the measle-pox;

when death comes

like an iceberg between the shoulder blades,

I want to step through the door full of curiosity, wondering:

what is it going to be like, that cottage of darkness?

And therefore I look upon everything

as a brotherhood and a sisterhood,

and I look upon time as no more than an idea,

and I consider eternity as another possibility,

and I think of each life as a flower, as common

as a field daisy, and as singular,

and each name a comfortable music in the mouth,

tending, as all music does, toward silence,

and each body a lion of courage, and something

precious to the earth.

When it's over, I want to say: all my life

I was a bride married to amazement.

I was the bridegroom, taking the world into my arms.

When it's over, I don't want to wonder

if I have made of my life something particular, and real.

I don't want to find myself sighing and frightened,

or full of argument.

I don't want to end up simply having visited this world.

—Mary Oliver

1.) In the second stanza, "and how can you not forgive?" I raised my voice at the end of a sentence to indicate and convey the fact that it was a question.

2.) "no" I make my voice deeper and take a bit of a dramatic pause so the audience can grasp there is a contradiction coming.

changes in attitude:

1.) for the first 2 stanzas the poem is light and speaks about truly being happy, however in the 3rd and the following stanzas the poem speaks about how happiness can be experienced by anyone not just singular people

-Kaden puts emphasis on the fact that he has colon cancer.

-I put emphasis when I spoke about how confused he was.

2. This poem talks about how people diagnosed with a terminal illness might feel.

He's had the chest pains for weeks,

but doctors don't make house

calls to the North Pole,

he's let his Blue Cross lapse,

blood tests make him faint,

hospital gown always flap

open, waiting rooms upset

his stomach, and it's only

indigestion anyway, he thinks,

until, feeding the reindeer,

he feels as if a monster fist

has grabbed his heart and won't

stop squeezing. He can't

breathe, and the beautiful white

world he loves goes black,

and he drops on his jelly belly

in the snow and Mrs. Claus

tears out of the toy factory

wailing, and the elves wring

their little hands, and Rudolph's

nose blinks like a sad ambulance

light, and in a tract house

in Houston, Texas, I'm 8,

telling my mom that stupid

kids at school say Santa's a big

fake, and she sits with me

on our purple-flowered couch,

and takes my hand, tears

in her throat, the terrible

news rising in her eyes.

—Charles Harper Webb

1. The perspective might change when we talk about how his son is starting to do stuff with cars just like he did all his life

2. A pivitol word we emphasized is the word "Waving" because it repeated itself multiple times and was a big part of the poem. We did this by changing our tone every time it got to the word "Waving".

Poem021: Wheels

My brother kept
in a frame on the wall
pictures of every motorcycle, car, truck:
in his rusted out Impala convertible
wearing his cap and gown
waving
in his yellow Barracuda
with a girl leaning into him
waving
on his Honda 350
waving
on his Honda 750 with the boys
holding a beer
waving
in his first rig
wearing a baseball hat backwards
waving
in his Mercury Montego
getting married
waving
in his black LTD
trying to sell real estate
waving
back to driving trucks
a shiny new rig
waving
on his Harley Sportster
with his wife on the back
waving
his son in a car seat
with his own steering wheel
my brother leaning over him
in an old Ford pickup
and they are
waving
holding a wrench a rag
a hose a shammy
waving.

My brother helmetless
rides off on his Harley
waving
my brother's feet
rarely touch the ground—
waving waving
face pressed to the wind
no camera to save him. 

—Jim Daniels

2 examples of performance choice - When I get to "the reach... lips", I speed up to show the significance of this part. By going at a faster tempo, I draw more attention to this part to show how this affects women. Women are beautiful in everything that they do and everything that they stand for and they should be noticed for their actions.

During the last 4 lines, I change my pitch and I take breaks in between the lines. These lines symbolize how women are amazing and do amazing things. Women's status in society hasn't always been appreciated so we have to appreciate women and what they do for the world.

" Just because I’ve raised it by touch, doesn’t mean it

follows" made me change my voice because I wanted to indicate that seeing something and wanting to make a change doesn't mean it will change it for the better.

These phrases stood out to me because even though love is not perfect you will do everything in your ability till it is no longer meant to be.

"you falter and they're gone, gone, gone" In this quote a raised my tone and created a dramatic effect to show that when you aren't paying attention things can disappear and you will regret it.

"But oh, she was sad, she was just sad, sad," In this part I changed my tone to become lower and more sad to add a dramatic affect on how sad she was feeling because of her regret.

The poem starts off with creating guilt by talking about how there was an accident and then goes to a more serious tone when it starts to talk about how the girl regreted some of her actions and then it goes back to the guilt part talking about the girl beingsad again.

Oh, she was sad, oh, she was sad.
She didn't mean to do it.

Certain thrills stay tucked in your limbs,
go no further than your fingers, move your legs through their paces,
but no more. Certain thrills knock you flat
on your sheets on your bed in your room and you fade
and they fade. You falter and they're gone, gone, gone.
Certain thrills puff off you like smoke rings,
some like bell rings growing out, out, turning
brass, steel, gold, till the whole world's filled
with the gonging of your thrills.

But oh, she was sad, she was just sad, sad,
and she didn't mean to do it.

—Daisy Fried

Snow

Walking through a field with my little brother Seth

I pointed to a place where kids had made angels in the snow.

For some reason, I told him that a troop of angels

had been shot and dissolved when they hit the ground.

He asked who had shot them and I said a farmer.

Then we were on the roof of the lake.

The ice looked like a photograph of water.

Why he asked. Why did he shoot them.

I didn't know where I was going with this.

They were on his property, I said.

When it's snowing, the outdoors seem like a room.

Today I traded hellos with my neighbor.

Our voices hung close in the new acoustics.

A room with the walls blasted to shreds and falling.

We returned to our shoveling, working side by side in silence.

But why were they on his property, he asked.

—David Berman

Dear dirt, I am sorry I slighted you,

I thought that you were only the background

for the leading characters—the plants

and animals and human animals.

It’s as if I had loved only the stars

and not the sky which gave them space

in which to shine. Subtle, various,

sensitive, you are the skin of our terrain,

you’re our democracy. When I understood

I had never honored you as a living

equal, I was ashamed of myself,

as if I had not recognized

a character who looked so different from me,

but now I can see us all, made of the

same basic materials—

cousins of that first exploding from nothing—

in our intricate equation together. O dirt,

help us find ways to serve your life,

you who have brought us forth, and fed us,

and who at the end will take us in

and rotate with us, and wobble, and orbit.

—Sharon Olds

2. I slowed down when I said, "Then light. Then hands. Then breath." to show their relief at finally being freed from the tight spaces of the well. This shows how panicked they were while in the well and how important it was to them to escape.

   
   

   The poem begins with a worried tone then becomes more panicked as the narrator descends into the well, then when they finally burst out of the top the poem switches to relief.

   
   

Who am I, flat beneath the shades of Isis,

This clay-skinned body, made study

by the physicians of Memphis?

Was it always my leaving the North

Snug on the back of the crocodile

Do I remember this whorl of mummy cloth

As I stood fuming by the Nile?

O life abandoned! half-embalmed, I beat the soil

For what I am; Who I am, I cannot regain

Nor sponge my life back with the charm of Ibis oil-

Still-omen of the dribbling Scarab!

Fate that leads me into the chamber of blue perfumes!

Is there no other worthy prophecy

Than that Decker who decks my spine with ostrich plumes?

No more will the scurvy Sphinx

With beggy prophets their prophecies relate

1. Enuciating O life abandoned!

2. Speaking last line slowly