ABC

Examples of Learning with music

Interesting...

 

 Promoting Literacy Through Music
Laura Woodall and Brenda Ziembroski

The successful acquisition of reading and writing in early childhood depends on a solid background in oral language skills. What better way to gain knowledge and confidence in oral language than through music? Oral language is an interactive and social process, and music is a natural way for children to experience rich language in a pleasurable way. Young children seem to be naturally "wired" for sound and rhythm. Besides providing enjoyment, music can play an important role in language and literacy development. Strong social bonds are encouraged through music and songs beginning in preschool. Toddlers can begin to experiment with grammatical rules and various rhyming patterns in songs and other written text. Establishing a sense of rhythm can be used to increase a student's awareness of rhyming patterns and alliteration in other areas of reading and writing. Through music, memory skills can be improved, and aural discrimination increased (Chong & Gan 1997). Music can focus the mind on the sounds being perceived and promote learning through an interactive process. It is important in teaching early childhood students to be conscious of auditory and discrimination skills. Music and songs help increase these listening skills in a fun, relaxed manner. Listening skills are key in singing, language and expressive movement, and later reading and writing (Wolf, 1992). Music has always been a way for children to remember stories and learn about the world around them. Using music as a stimulus can effect one's emotions and make information easier to remember. Music also creates an environment that is conducive to learning. It can reduce stress, increase interest, and set the stage for listening and learning. The similarities between literacy acquisition and musical development are many. Therefore, teaching that combines music with language arts instruction can be the most effective (Davies, 2000). Furthermore, it is important for emergent readers to experience many connections between literacy in language, music, and in print. Language in music and language in print have many similarities, such as the use of abstract symbols. Both oral language and written language can be obtained in the same manner. That is, by using them in a variety of holistic literacy experiences, and building on what the students already know about oral and written language (Clay, 1993). For example, emergent readers will attempt to "read" along in a shared reading of a familiar text, just as they will join in a sing along to a familiar song. (Sometimes making up the words as they go!) Just as emergent reading and writing are acquired to drawing and pretending to write, musical learning is connected to song and movement. Children instinctively listen to music and try to identify familiar melodies and rhythms, just as early readers will look for words that sound alike, have patterns, or rhyme (Jalongo & Ribblett, 1997). Song picture books such as The Ants Go Marching or The More We Get Together, support early readers in this manner. They also illustrate how the use of familiar text, predictability, and repetition can encourage children to read. Using songs put to print can expand vocabulary and knowledge of story structure, as well as build on concepts about print. The use of music for reading instruction allows children to easily recall new vocabulary, facts, numbers, and conventions of print. For example,try to remember how you learned your ABC's or other memory skills -- many people learn them musically. Meet Me at the Garden Gate* can be used to teach children to skip count by two's; it is a song that is readily learned while at the same time assimilates the mathematical concept. Repetition in songs supports and enhances emergent literacy by offering children an opportunity to read higher-leveled text and to read with the music over and over again in a meaningful context. Print put to music also allows children to build on past experiences, which in turn invites them to participate in reading and singing at the same time. Using Over the River and Through the Woods (Child,1996) for instruction affords first grade students the familiarity necessary to read a higher leveled text based on past experiences. Furthermore, teachers using repetitive text can easily model and exaggerate the repetition, rhyme, and rhythm of story, thereby encouraging the children to join in. A child's initial introduction to patterned text often first occurs in songs, chants, and rhymes that are repeated over and over again throughout childhood. Once children become familiar with this patterning, they are excited and able to participate in shared reading, writing and other oral language experiences. Concepts about print become more meaningful, and conventions of print are learned in context. Additionally, substitutions in songs, chants or poems can provide for real language experience opportunities. When emergent readers see printed words in the text again and again, they come to identify those words and phrases by their similarities and configurations. Emergent readers who learn Five Little Monkeys Jumping on the Bed (Christelow. 1989), for instance, can quickly spot the quotations marks and capital letters in the doctor's statement, "No more monkeys jumping on the bed!" (Jalongo & Ribblett, 1997). The effects of music on the emotions are commonly known. However the effects of music on the brain and thinking are demonstrable. Research has shown that during an electroencephalogram (EEG), music can change brain waves and make the brain more receptive to learning. Music connects the functions of the right and left hemispheres of the brain so that they work together and make learning quick and easy. Brain function is increased when listening to music and studies have shown that music promotes more complex thinking. It can make connections between emotions, thinking and learning (Davies, 2000). Howard Gardner's research on Multiple Intelligences supports this idea. He describes how people demonstrate different skills and talents while trying to learn. Therefore, classrooms must provide different approaches to meet an individual student's areas of strength in order to be the most successful. For example, Gardner's Musical-Rhythmic learners are sensitive to nonverbal sounds and are very much aware of tone, pitch and timbre. Using rhythm, chanting, and songs with these students can increase their attention and interest while motivating them to learn (Gardner, 1985.) Advertisers and filmmakers realize and utilize the power of music to evoke emotions and get our attention. Educators need to learn from this multi-million dollar industry and use music to our advantage to help children to learn (Davies, 2000). Good first teaching is based on using what children already know, and the influence of music on learning is clear. Therefore it seems that teachers should be motivated to incorporate music, rhymes, chants, rhythm, and songs in the classroom. If music can set the stage for learning, increase a child's interest, and activate a student's thinking, what are we waiting for? Music gives a soul to the universe, Wings to the mind, Flight to the imagination... And life to everything. --Plato

Studying Hard In the Library

Our Final Play - Children's Literature

CINDERELLO IN PANAMA

CHARACTERS:
1. NARRATOR: IREMA
2. STEPFATHER: JOSUE
3. CINDERELLO: ARTURO
4. STEPBROTHER 1:ENRIQUE
5. STEPBROTHER 2: ARLENIS
6. FAIRY GODMOTHER: ANA
7. PRINCESS: JOSSY

SCRIPT:

· NARRATOR: Cinderello lives in a house with his Stepfather and his two Stepbrothers. His Stepfather never works around the house. Every day she says.

· STEPFATHER: Cinderello, out the trash, Cinderello, clean the house. Cinderello, work, work, work!.

· NARRATOR: His Stepfather is not good. He is bad. One of Cinderello´s Stepbrothers is fat with a big nose. The other one is thin, with big ears, and they don´t like to work either.

· STEPBROTHER 1: Cinderello, come here!.

· STEPBROTHER 2: Cinderello sweep the floor!.

· STEPBROTHER 1: Cinderello clean my shoes!

· NARRATOR: Cinderello is very handsome, and hardworker. He is good to his Stepfather and to his Stepbrothers. One day they receive an invitation.

· STEPBROTHER 1: Father, read it!.

· STEPBROTHER 2: What does it say?.

· STEPFATHER: It says that every man is invited to a ball.

· CINDERELLO: Oh, I want to go to the ball. I like to dance.

· STEPBROTHER 1: You want to go to the ball?. You must be crazy!.

· CINDERELLO: Yes, I want to go to the ball.

· NARRATOR: Cinderello works hard. He buy the suit for his Stepfather and his Stepbrothes. He doesn´t have time to make his own suit.

· STEPBROTHER 2: We are going to the ball!. We are going to the ball!.

· STEPFATHER: If you don´t have a suit, you will not go to the ball.

· NARRATOR: Cindirello got angry.

· CINDERELLO: I don´t have an elegant suit. I have an ugly suit. I am not going to the ball.

· STEPBROTHER 1: What a shame!. We have pretty suit. Good-bye!.

· NARRATOR: Suddenly, Cinderello sees a very beautiful woman. It´s his Fairy Godmother.

· FAIRY GODMOTHER: Now you have a pretty suit.

· NARRATOR: Cinderello looks at his cloth and says.

· CINDERELLO: Yes, I have a pretty suit!. I am going to the ball. I am happy!

· FAIRY GODMOTHER: Just remember that you have to come back at twelve o´clock. Don´t forget!.

· CINDERELLO: No, I won´t forget!. Good-bye.

· NARRATOR: Cinderello going to the ball, and when entering the palace everyone looked and stepbrothers did not recognize, the beautiful princess dance with him all night but after the midnight, Cinderello run away from the palace.

Cindirello ran so fast that his shoe stayed in the stairs.

Princess very sad ask all invited about the handsome gentleman and did not succeed, I only found one shoe. Then you decided to go from house to house throughout the kingdom to prove to all men that shoe.

The next day the princess went to the house of Cinderello to try the shoe to all men of the house

· PRINCESS: Is the handsome man here?

· STEPFATHER: Yes, he is. That is my son´s shoe. Son, come here.

· STEPBROTHER 1: Yes, father.

· STEPFATHER: Try on the shoe.

· NARRATOR: His son, who is very fat, tries to put on the shoe.

· STEPBROTHER 1: I can´t . This shoe is too small, and my foot is fat. It hurts!. This is not my shoe.

· NARRATOR: Meanwhile, Cinderello is coming down the stairs and says.

· CINDERELLO: That shoe is mine.

· STEPSISTERS: Ha, ha, ha. You’re silly!.

· CINDERELLO: Yes, that shoe is mine!. And I have the other one.

· NARRATOR: Suddenly she appears with his pretty suit, and once again she looks very handsome.

· PRINCESS: I love you!. I love you!

· CINDERELLO: I love you too .Do you want to marry me?.

· PRINCESS: Yes, I want to marry you.

· NARRATOR: And now Cinderello and the Princess live happily in the palace.


THE END

 

By Lenny

Courses, Courses, and more Courses

Check this link out, I promise will be very helpful and useful.

https://www.coursera.org/

By Lenny

Cinderella Tales From Around the World

Cinderella, or The Little Glass Slipper (French: Cendrillon ou La Petite Pantoufle de verre, Italian: Cenerentola,German: Aschenputtel, Russian Золушка, Zolushka), is a European folk tale embodying a myth-element of unjust oppression. Written versions were published by Giambattista Basile in his Pentamerone (1634), by Charles Perrault inHistoires ou contes du temps passé (1697),[1] and by the Brothers Grimm in their folk tale collection Grimms' Fairy Tales (1812).

Although the story's title and main character's name change in different languages, in English-language folklore "Cinderella" is the archetypal name. The word "Cinderella" has, by analogy, come to mean one whose attributes were unrecognized, or one who unexpectedly achieves recognition or success after a period of obscurity and neglect. The still-popular story of "Cinderella" continues to influence popular culture internationally, lending plot elements, allusions, and tropes to a wide variety of media.

The Aarne–Thompson system classifies Cinderella as "the persecuted heroine". The story of Rhodopis about a Greek slave girl who marries the king of Egypt is considered the earliest known variant of the "Cinderella" story (published 7 BC), and many variants are known throughout the world.

Different version from differents Cultures:

Culture	Title
China/Chinese	Yeh-Shen, The Chinese Cinderella (author Unknown)
Egypt/Egyptian	The Egyptian Cinderella, Rhodopis (author unknown)
England/English	Tattercoats as told by Joseph Jacobs
Europe/European	Cinder Maid as told by Joseph Jacobs
France/French	Cinderella by Charles Perrault
Germany/German	Cinderella as told by Jacob and Wilhelm Grimm (1812, 1st Edition)
German	Ashputtel as told by Jacob and Wihelm Grimm (1857, 7th Edition)
Italy	Cinderella as told by D.L. Ashliman
Korea/Korean	Korean Cinderella retold by Shirley Climo
Norway	Katie Woodencloak as told by Peter Christen Asbjørnsen and Jørgen Moe
Russia/Russian	Vasilissa the Beautiful as told by Heidi Anne Heiner
Russian	The Babba Yaga as told by Aleksandr Afanasyev
Russian	The Wonderful Birch as told by D. L. Ashliman
Scotland	Rashin-Coatie as told by D. L. Ashliman
Romania/Romanian  (dragonrest.net)	The Old Man and His Daughter retold by Marguerite L. M. Wolf
Vietnam/Vietnamese	The Story of Tam and Cam as told by D.L. Ashliman

By Lenny

About The Literary Genres

THE FOLKTALES AND SUBGENRES


Folktale: a short story that has been passes down from generation to generation.

Legend: story, sometimes of a national or folk hero, that has a basis in fact but also includes imaginative material.

Tall tale: humorous story with blatant exaggerations, swaggering heroes who do the impossible with nonchalance.

Fairy tale: story about fairies or other magical creatures, usually for children.

Myth: legend or traditional narrative, often based in part on historical events that reveals human behavior and natural phenome by its symbolism.

Fable: narration demonstrating a useful truth, especially in which animals speak as humans; legendary, supernatural tale.

MY FAVORITE

Aesop: The Tortoise and the Hare

The Hare was once boasting of his speed before the other animals. "I have never yet been beaten," said he, "when I put forth my full speed. I challenge any one here to race with me."The Tortoise said quietly, "I accept your challenge."

"That is a good joke," said the Hare; "I could dance round you all the way."

"Keep your boasting till you've won," answered the Tortoise. "Shall we race?"

So a course was fixed and a start was made. The Hare darted almost out of sight at once, but soon stopped and, to show his contempt for the Tortoise, lay down to have a nap. The Tortoise plodded on and plodded on, and when the Hare awoke from his nap, he saw the Tortoise just near the winning-post and could not run up in time to save the race.

Then the Tortoise said: "Slow but steady progress wins the race."

By Lenny