Grades 4-5

Curriculum Module for Elementary Grades 4-5

UBEATS Module 4/5 (1) https://sites.google.com/a/uncg.edu/ubeats/home Table of Contents

Physical Science page

1: How are sounds created? ...... 3

2: How does sound travel in different environments? ...... 7

3: How can we view and distinguish sounds? ...... 13

Life Science

1: How do animal sounds relate to human music making? ...... 17

2: Where is sound in our environment? ...... 21

3: Are we aware of the sounds around us? ...... 25

4: How do animals create sound? ...... 29

5: How can humans represent animal sounds? ...... 33

6: What is the value of a signature sound? ...... 37

7: How does the environment affect animal sounds? ...... 41

8: What sounds do whales use to communicate? How do they hear these sounds? .... 43

9: How do animals communicate in the wild? ...... 47

10: What are the reasons animals use sounds? ...... 51

11: How is human and dolphin communication similar? ...... 55

11a: How do animal sounds influence human music making? ...... 59

12: Can we create a critter choir? ...... 63

13: What are some careers in biomusic? ...... 67

UBEATS Module 4/5 (2) https://sites.google.com/a/uncg.edu/ubeats/home Physical Science 1: How are sounds created?

Learning Outcomes: The learner will Introduction: Animals use specific sounds and calls to communicate understand basic concepts of sounds with one another in a wide variety of environments. Over years of including sound waves, pitch, timbre, evolution, animals have had to adapt to their changing habitats. and dynamics (see Concepts and Science Specifically, animals have adapted their animal calls to fit the habitat in Process Skills), and will connect these which they live. Animals can also use ‘tools’ from the natural world to concepts to discussions of force. ensure that their calls are heard by others. The primary role of this lesson is for students to review basic concepts of sound (see Concepts and Science Science Process Skills: Observation, Process Skills) through the use of classroom instruments (see Module Inference Overview and Preliminary Information). Time: One hour

Materials: Science journals, pencils (two per student), plastic cups (one per student), Engage Explore Explain Elaborate Evaluate dry rice, plastic wrap (one roll), rubber bands of a variety of widths and thicknesses 5E (several per student), tuning forks, shal- Engage: low dish with water, textbooks (one per Ask each student to cover the top of a plastic cup student), shoe boxes (one per student). A with plastic wrap and attach with a rubber band. variety of percussion and wind instruments Put some grains of rice on the plastic wrap. Ask (see Module Overview and Preliminary students to watch what happens to the rice when Information). A guitar or other stringed mu- they sing or play instruments directly next to the cup. Students should sical instrument (see Module Overview and have a variety of musical instruments to experiment with and they should Preliminary Information) is recommended. also try singing songs with different dynamics and pitches. Students should notice that the rice vibrates differently among sound sources with varying dynamics, pitches and timbres of instruments. Based on their experiences with sound in other grades, do the students know why these Curriculum Alignment: differences occur? National Science Standards

Content Standard A: Abilities necessary to Explore: do scientific inquiry 1. Inform students that today they will be • Understanding about scientific inquiry. reviewing the basic concepts of sound. • Employ simple equipment and tools to Students should remember that sound gather data and extend the senses. travels in waves. The waves are what make Content Standard B: Physical Science the rice vibrate on the plastic wrap and the plastic wrap represents the • Properties of objects and materials eardrum. As sound waves cause the eardrums in humans and in animals to vibrate, they are able to hear. For additional examples sound waves, National Music Standards tap a tuning fork on the side of the desk and dip it in a bowl of water. What do students see? Goal 1: Singing, alone and with others 2. Have each student stretch a rubber band around a textbook and place Goal 2: Playing instruments, alone and two pencils (far apart) under the rubber band. They will then take turns with others plucking the rubber band. Allow students to listen both to the pitch of Goal 3: Improvising, within specific the sound and to watch the rubber band vibrate. Afterwards, ask guidelines students to predict what will happen if they move the pencils closer Goal 6: Listening to, analyzing, and together and pluck the rubber band. Ask students to write their describing music prediction in their science journals. They should then try plucking the Goal 8: Understanding relationships band after moving the pencils closer together. Students should discover between music, the other arts, and that as the distance between the pencils becomes shorter, the pitch disciplines outside the arts becomes higher. They can write the actual results in their science journals.

UBEATS Module 4/5 (3) https://sites.google.com/a/uncg.edu/ubeats/home Explain: Ask students why they thought that the pitch changed when the pencils were moved closer together. Explain to students that a rubber band, stretched across a particular distance, produces a pitch when plucked. Such a pitch can be represented visually by sound waves (see Concepts and Science Process Skills). The number of sound waves that occur in a second is called frequency (see Concepts and Science Process Skills). The higher the frequency (i.e., more waves occurring within a second), the higher the pitch. Given two rubber bands of differing lengths that have the same thickness and are stretched to the same tension, the shorter rubber band will produce a greater number of vibrations per second and a higher pitch than the longer rubber band, which produces fewer vibrations per second and a lower pitch (see the diagram below). Pressing the string against the fret board of a guitar, or in this case, the pencils, shortens the length of the part of the string that can vibrate. Thus, the greater number of vibrations produces a higher pitch.

High Pitch Low Pitch

Elaborate: 1. Once students have examined how sound travels in waves and how pitches can be high and low, allow them to explore loud and soft sounds, the musical label being dynamics (see Concepts and Science Process Skills). Allow students to create shoe box guitars by stringing rubber bands of various thicknesses and widths around the box. Ask students to predict whether plucking lightly or hard will increase or decrease the volume. [NOTE: Volume of the sound is measured as amplitude (science) (see Concepts and Science Process Skills) or dynamics (music) (see Concepts and Science Process Skills)]. Have students write their predictions in their science notebooks, then test out them. What do students notice? Do students also recognize a change in pitch based on the size of the rubber band? 2. Students should recognize that as they pluck the rubber band harder, the sound grows louder and vice versa. This effect is caused by students using an increased (or decreased) force, or a greater (or lesser) push/pull on the rubber band. Students can also experiment with force using drums and other classroom instruments. What happens when students use greater force to play percussion instruments, for example? What about less force? 3. Ask students to think of the ways that animals communicate, using both their voices and tools (e.g., a tree used to amplify sound for a woodpecker). When might an animal want to change the force with which they use a tool? Why do people change the amount of force they exert when using tools?

Evaluate: 1. Ask students to describe, in their journals, how sound travels. 2. Ask students to include how they can change the pitch/frequency of a sound, as well as the dynamics/amplitude.

UBEATS Module 4/5 (4) https://sites.google.com/a/uncg.edu/ubeats/home Physical Science 1: resources

Vocabulary: Amplitude: A scientific term describing the loudness or softness of a sound.

Dynamics: A musical term describing the loudness or softness of a sound.

Force: The amount of energy required to create a push or pull on an object.

Frequency: The number of cycles (or oscillations) of a sound wave per second; the higher the frequency, the higher the pitch. This is the scientific measurement of pitch.

Pitch: The highness or lowness of a sound as perceived by the auditory senses.

Sound wave: A description of how sound energy moves through matter, creating an audible sensation.

Timbre: The unique sonic quality of an instrument, voice, or sound; student should use adjectives to describe timbre, i.e. 'bright,' 'dark,' 'muffled,' etc.

UBEATS Module 4/5 (5) https://sites.google.com/a/uncg.edu/ubeats/home UBEATS Module 4/5 (6) https://sites.google.com/a/uncg.edu/ubeats/home Physical Science 2: How does sound travel in different environments?

Introduction: Sound waves need to travel through a medium such as a solid, a liquid or gas. The sound waves move through each of these Learning Outcomes: The students mediums by transmitting vibrational energy. The molecules in solids are will identify various mediums through packed very tightly. Liquids are not packed as tightly and gases are very which sounds can travel and classify loosely packed. This difference in density enables sound to travel much them from slowest to fastest. The faster through solids than through gases. Sound travels about four times students will identify or name animals faster and farther through water than it does through air. This is why that communicate with sound in different whales can communicate over long distances in the oceans. Sound waves mediums. travel about thirteen times faster through wood than through air. They Science Process Skills: Classification, also travel faster on hotter days as the molecules bump into each other Inference more than when the air is cold. (Speed of sound in air – 331.45 m/s. Speed of sound in fresh water – 1493 m/s. Speed of sound in oak – 3850 m/s. Time: Two hours (can be delivered over Speed of sound in granite – 6000 m/s.) several class sessions)

Materials: Glass jars (one per set of partners), spoons (one per student), water, RavenLite™ (see Module Overview and Preliminary Information) 5E Engage Explore Explain Elaborate Evaluate Engage: Curriculum Alignment: Ask students if they think that sound would National Science Education Standards travel better in solids, liquids, or gases. Have Content Standard A: Abilities necessary to them discuss examples of when they have heard do scientific inquiry sounds through the different mediums (e.g., air, • Understanding about scientific inquiry. bathtub or swimming pool, ear to a wall, etc.). • Employ simple equipment and tools to gather data and extend the senses Have students demonstrate the three different states of matter and how a

Content Standard B: Physical Science vibration would go through them. Divide students into three groups and • Position and motion of objects quickly model the vibration traveling through the different states of matter. • Sound is produced by vibrating objects, The gas-group-students should stand two to three yards apart, making the pitch of the sound can be varied by it difficult for the transfer of vibrations; liquid-group-students should changing the rate of vibration stand one to two yards apart, vibrations are passed along better; solid- group-students should be packed shoulder to shoulder to represent the Content Standard C: Life Science close proximity of atoms that allow vibrations to transfer through all the • The characteristics of organisms molecules. • Organisms and their environments

Content Standard E: Science and Technology • Abilities of technological design • Understanding about science and technology • Abilities to distinguish between natural objects and objects made by humans

Solid Liquid Gas

continued next page (http://www.ilpi.com/msds/ref/vapor.html)

UBEATS Module 4/5 (7) https://sites.google.com/a/uncg.edu/ubeats/home Content Standard F: Science in Personal ExplorE: and Social Perspectives 1. Have students test how sound travels through • Characteristics and changes in solids. Have students work in pairs at their seats. populations Student 1 should tap lightly (producing energy) on • Changes in environments his/her desk while student 2 records what he/she • Science and technology in local hears as the vibrations travel through the air (gas). Then, Student 1 should tap challenges lightly (producing energy) again while Student 2 lays his/her ear on the desk Content Standard G: History and Nature as the vibrations travels through the solid. The students should repeat the of Science procedure, trading duties and comparing sounds. Try the activity several more • Science as a human endeavor times tapping louder (producing increased energy) and record the results.

National Music Standards Activity Sound Observations Goal 8: Understanding relationships between music, the other arts, and Light taps through air (gas) disciplines outside the arts

Light taps through table (solid)

Heavy taps through air (gas)

Heavy taps through table (solid)

2. Now have students predict how well sound will travel through water. Have the students fill a glass jar nearly full with water. Have Student 1 cover one ear with her/his hand and put the other ear against the glass jar. Ask Student 2 to hit two spoons together under water. Repeat, trading duties. Can the student listening hear a sound?

Explain: Discuss how the sound was much louder through the table than through the air. Ask students how they think sound would travel in a liquid. Remind students about the Engage section when they used their bodies as models to represent the molecules in solids, liquids, and gases. Ask students about the transfer of sound energy vibrations through solids, liquids and gases. Accept reasonable responses. Discuss speeds of sound and describe how molecules in solids, liquids, and gases impact transfer of sound vibrations.

All sound waves need a material to transfer energy (vibrations). However, the waves do not travel at equal rates through solids, liquids, or gases. Sound waves travel at the fastest speed through solids, slower through liquids, and finally the slowest through gases. This is because the molecules comprising a solid are close together, making it easier for the sound wave to transfer energy from one molecule to the next. In a gas, the molecules are spread farther apart, taking longer for the energy (vibrations) from the sound wave to reach from one molecule to another. In addition, different kinds of mediums will absorb sound energy more readily than others. Sound proofing materials are often made from elastic foams that have lots of small elastic crevices, expanding the distances of the molecules absorbing sound waves. Other materials (e.g., hard, flat surfaces) will reflect and concentrate sound waves. Remind students that a medium must be present to cause the vibrations that the ear can hear. In outer space, which is a vacuum, sound does not travel.

UBEATS Module 4/5 (8) https://sites.google.com/a/uncg.edu/ubeats/home Elaborate: 1. Ask students to consider the fact that a sound travels five times faster underwater than in the air. For instance, sound in the ocean moves approximately 15 football fields end-to-end in one second. But sound in the air moves only three football fields a second (http://www.whalesong.net./index.php/humpback-faq). Does this information fit with what students have learned above? How far do students think a whale song can travel, given the medium through which it travels? 2. Have students listen to sounds of humpback whales at: http://www.whalesong. net./index.php/the-whalesong-project/sounds/whale-songs. Ask students to listen and describe at least three things each about the pitch, the duration, and the volume (amplitude/dynamics). Discuss the whales’ ocean habitat. Scientists who study humpback whale songs have determined that each male of this species sings a song that each ocean’s group has created together. The songs contain patterns of pitches that slowly change year to year. Scientists have wondered how the whales compose and keep track of the songs. Because scientists have detected repetitions of units within the pitch patterns of humpback whale songs, they suspect that the lengthy songs use rhyme. The male Humpback Whales co-create their seasonal songs through imitation and addition. Individual males imitate pitch patterns they hear another whale sing and add new pitch patterns that conclude by matching the end of the previous whales’ contributions. This is called rhyming. The whales continue composing the season’s song together until all of the whales in a specific ocean sing the same song. 3. Ask students to create their own symbols to represent the pitches, the long/short duration of each sound, and the volume. Replay the sounds so that students have time to represent the sounds symbolically in their science notebooks. Ask them to share their representations with the class and explain their rationale. Show the students spectrograms of the whale songs. Songs and corresponding spectrograms can be found at http://oceanexplorer.noaa.gov/explorations/ sound01/background/seasounds/media/humpwh.html. 4. Engage students in a game of echo singing (exact imitation) by playing or singing a series of short, novel pitch, word, or syllable patterns. Games may consist of any combination of words, sounds or syllables and should progress by using combinations of sounds to create patterns. Extend the game by choosing a pattern that everyone can imitate, and ask individual students to begin the same pattern then create a change to the pattern (an improvisation of the pattern). Next – ask individual students to imitate by beginning with something different and ending with the same ending as the original pattern. This is similar to the rhymes created by whales. Observe how different pitch patterns, durations, and volumes establish same or different patterns in songs. Assign students into teams and ask students to create their team’s ‘seasonal song.’ Remind them to consider how the sound vibrations of low/high pitches travel through gas (air), liquids (water), and solids and choose the best patterns for their environments as a human or a whale.

UBEATS Module 4/5 (9) https://sites.google.com/a/uncg.edu/ubeats/home Evaluate: 1. Ask students to rank/order the three types of matter and how well sound travels through them. 2. Have students explain why whales have an advantage in communicating underwater compared to animals communicating on land.

Extend: 1. Utilize the metal, glass, and plastic containers and attach a microphone to the side of the container to record the different sounds of the mediums. Use these recordings to create spectrograms in Raven Lite™ to allow students the opportunity to compare what they hear, feel, and see. If a microphone is unavailable a stethoscope may be substituted for listening. 2. Express how sound can be heard without ears. Profile deaf percussionist, Evelyn Glennie, who plays barefoot in order to feel the vibrations.

Evelyn Glennie websites http://www.youtube.com/watch?v=jVw5KawqUIg http://vodpod.com/watch/585869-deaf-percussionist-evelyn-glennie- and-linda-bove-on-sesame-street http://www.ted.com/talks/evelyn_glennie_shows_how_to_listen.html

UBEATS Module 4/5 (10) https://sites.google.com/a/uncg.edu/ubeats/home Physical Science 2: resources

Vocabulary Acoustics: The study of how sound behaves.

Duration: The time during which something exists or a particular time interval.

Gas: Phase of matter that has no shape or size of its own. Molecules move rapidly and bounce off one another and container. Gas takes the shape of a closed container.

Liquid: Phase of matter that can flow, be poured, and spilled. Molecules are loosely packed but maintain contact, gliding past one another. Liquid takes the shape of the container.

Medium: An intervening substance through which sound travels; a solid, liquid, or gas.

Pitch: See vocabulary list in Physical Science 1.

Rhyme: Correspondence among two or more patterns of sound that have similar or identical endings.

Tempo: The speed of the sounds.

Solid: Phase of matter that holds its own shape. Molecules are tightly packed and constantly vibrating.

Sound wave: See vocabulary list in Physical Science 1.

Vibration: The rapid oscillation of molecules by energy. Some vibrations can be sensed by sight, touch, or hearing.

Websites Source for the Solid-Liquid-Gas Diagram http://www.ilpi.com/msds/ref/vapor.html

Information on Whale Songs http://www.whalesong.net./index.php/humpback-faq

Recordings of Whale Songs http://www.whalesong.net./index.php/the-whalesong-project/sounds/whale-songs

http://oceanexplorer.noaa.gov/explorations/sound01/background/seasounds/media/ humpwh.html

Overview of Raven Lite http://www.birds.cornell.edu/brp/raven/RavenOverview.html

Sites Featuring Evelyn Glennie http://www.youtube.com/watch?v=jVw5KawqUIg

http://vodpod.com/watch/585869-deaf-percussionist-evelyn-glennie-and-linda-bove- on-sesame-street

http://www.ted.com/talks/evelyn_glennie_shows_how_to_listen.html

UBEATS Module 4/5 (11) https://sites.google.com/a/uncg.edu/ubeats/home UBEATS Module 4/5 (12) https://sites.google.com/a/uncg.edu/ubeats/home Physical Science 3: How can we view and distinguish sounds?

Introduction: Sound is a form of energy, and vibrations cause a push and pull of the surrounding molecules that impact other molecules to create alternating Learning Outcomes: In the following bursts of high and low pressure. Sounds travel through solids, liquids, and activity, students will match aural gases and in all directions. Sounds can be visualized using computer-generated observations of animal calls to visual pictures so we can see representations of what we hear. These pictures are called representations of sound. Students will spectrograms (or sonograms). Spectrograms represent the bursts of high and explore the physical science concepts of low pressure with amplitude and frequency on the y-axis and time on the x-axis. frequency and amplitude as they learn Raven Lite™ is an interactive sound analysis freeware program. Using Raven about various species’ sounds and their Lite™, the teacher and students can listen to sounds and can view corresponding uses of sounds for survival. sample spectrograms as well as upload or record their own sounds to connect Science Process Skills: Observation, to the visual representations (see below). As students observe the visualization Classification, Measurement, Inference of the sounds, two graphs are formed. The top area of the graph is the waveform and the spectrogram is the Time: Two one-hour sessions bottom picture. The height of the Materials: Sets of six animal pictures; waveform represents the amplitude recordings of each animal’s song or call; or loudness of the sound. The sets of spectrograms of the same six spectrogram also indicates the animals’ calls or songs; large display loudness by the intensity of photo of each animal from the set (for the color, and its frequency is teacher), to be mounted on 9” x 12” represented by how high the construction paper; introductory animals’ sounds appear on the graph. photos and matching spectrograms. [NOTE: See Advanced Preparation section for more explicit instructions.] Advanced Preparation: Begin by downloading Raven Technology Resources: Raven Lite™, Lite™ so that you have access to Handheld digital recorders (optional) spectrograms of various animals. Under the folder entitled ‘Open Sound Files,’ select six different animal recordings to display as Curriculum Alignment: spectrograms – for example, the National Science Education Standards African Forest Elephant, Bearded Seal, Canyon Wren, Evening Content Standard A: Grosbeak, Spotted Hyena, and the Abilities necessary to do scientific inquiry Nuthatch. Print copies of these • Understanding about scientific inquiry spectrograms for students to • Employ simple equipment and tools to view (one set per group of four gather data and extend the senses students). Teachers should then Content Standard B: Physical Science choose photographs of the selected • Properties of objects and materials animals, using Google Images or other websites, and print out copies of the photos to correspond with each National Music Standards spectrogram. Mount the animal’s picture and the matching spectrogram on the Goal 6: Listening to, analyzing, and same color of construction paper for instant group assessment (see above). Print describing music an additional set of the photos and spectrograms for each animal for the teacher Goal 8: Understanding relationships to display when introducing sounds to the class and during assessment. In between music, the other arts, and addition, print examples of Scrubjay, Screech Owl, and Canyon Wren photos and disciplines outside the arts matching spectrograms for the Engage part of the lesson. These spectrograms can also be found within Raven Lite™.

UBEATS Module 4/5 (13) https://sites.google.com/a/uncg.edu/ubeats/home 5E Engage Explore Explain Elaborate Evaluate

Engage: Listen to the sounds of the three example animals – the Canyon Wren, Scrub Jay, and Screech Owl with the students. These can be found in sound files of Raven Lite™. Ask students to imitate the calls vocally and rhythmically. Show students three spectrograms, one for each animal’s call as you listen to the animals’ sounds. Discuss which spectrogram belongs to each animal, highlighting the variations in amplitude and pitch.

ExplorE: 1. Ask students what they listened for in matching an animal to its vocalization. Discuss the difference between onomotopoeic sounding words such as 'meow,' 'oink' and 'moo' and the actual sounds animals make to communicate. 2. Distribute blank copies of the data table (see below) to students. Show students the large pictures of the six selected animals as they listen to vocalizations of the same animals from Raven Lite™. Ask students to fill in the first three columns of the data table during this part of the activity. In the second column, students can use Xs or their own invented graphic representation of the sound. Students will decide which animal they think made the call. Identify the animals that made the sounds while holding up the large photo of the animal as students listen again. Students fill in the fourth column of the data table as they learn whether or not their predictions were supported.

Animal Calls or Songs Animal Prediction Actual Animal Spectrogram

Sounds Like: Looks Like: (Students shade or draw in)

1. GGRRRR xxxXXXXX Lion Alligator

2.

3.

4.

5.

6.

3. Distribute sets of six animal pictures and spectrograms to groups of four students. (At this point the animal cards are left face down in a pile and the students would be unaware of the color-coding and that sets are mixed up. The students will use color- coding to check responses later.)

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UBEATS Module 4/5 (14) https://sites.google.com/a/uncg.edu/ubeats/home 4. Next, students will listen to the same animals’ sounds and view spectrogram printouts. Have them listen to the sounds again and elaborate on utilizing their knowledge of frequency and amplitude to identify the sound and matching spectrogram. Students can ‘read’ the spectrogram from left to right following along with their fingers as they listen to the sound. Ask students to match the animal’s photo to its spectrogram. 5. Discuss with students the various sounds animals make and how each animal can have a number of vocalizations to use in different situations (i.e. warning or mating calls). Review the sounds and corresponding spectrograms to reinforce the visual representations of the frequency and amplitude with the animals’ sounds. 6. Check by replaying the sounds and holding up the large photo of the animals as students check their color-coded animal pictures and matching spectrograms.

Explain: Explain to students that the pitch of a sound is our interpretation of its frequency, and that amplitude is a measure of sound dynamics (how loud or soft). Both of the measurements are located on the y-axis of the spectrogram. Frequency is the number of cycles (or oscillations) of a sound wave per second. Our brains generally interpret higher frequency sounds as having higher pitch. Have students examine one of the spectrograms and compare the pitch of the animal’s sound to the frequency level of the sound. Students may be familiar with seismographs, i.e. machines that measure earthquake’s sound vibrations. Explain to students that a seismograms and a spectograms are similar in their ability to represent sound waves and patterns over time. A spectogram displays the frequencies of animals’ sounds as well as the amplitude, much like a seismogram displays the intensity of earthquake vibrations. It is important to identify an animal’s use of sounds for communication that contribute to its survival. Animals use sounds to attract mates, to communicate with others of their species, and to establish territory. Sounds can travel through solids, liquids, and gases. Elephants’ and insects’ sound vibrations can travel through solids (elephants= ground; insects=inside trees); whales’ and dolphins’ sounds can travel great distances in the liquid ocean; and birds’ and wolves’ sounds travel through the gases in air. Bats and dolphins employ echolocation, a particular use of sound waves in which emitted sound waves create ‘bounce-back’ waves that are detected and processed. While bats are not blind, which is a common misconception, the use of sound assists their feeding and rapid flight movements. In the case of dolphins, they emit clicking sounds forward in the direction of their head and receive the echo from these sounds in the lower jaw. Calculating the time between making sounds and receiving their echoes, dolphins can detect food or dangers that are even out of sight.

Elaborate: 1. Go on a sound walk in the schoolyard. Have students find a place to sit and listen as they write down all sounds they hear. Have students distinguish sounds of nature with sounds made by humans (i.e. traffic noises, playground sounds). 2. Create Venn diagrams of natural and human-made sounds. This schoolyard sound walk is a wonderful opportunity to incorporate students’ science process skills as they: observe sounds, infer unidentified sound sources,classify sounds, and write about (communicate) their experience. 3. Students can also use inexpensive digital recorders to record sounds on their soundwalks. Students can upload the recordings to Raven Lite™ and create spectrograms of the sounds. [Possible Resources: iPhone, iPad, dedicated digital field recorder such as a Zoom H2]

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UBEATS Module 4/5 (15) https://sites.google.com/a/uncg.edu/ubeats/home 4. Students can work with peers to match the sounds to the spectrograms, providing students with authentic technology experience as they expand their science habits of mind.

EvaluatE: 1. Have students listen to a thrush song from the Wild Music website (www. wildmusic.org) and view different spectrograms as the bird sings. Check students’ abilities to identify the correct spectrogram. 2. Ask students to write an informative letter explaining how to read a spectrogram to a friend.

Physical Science 3: resources

Vocabulary Echolocation: A sensory system in certain animals, such as bats and dolphins, in which sounds are emitted and their echoes interpreted to determine the direction and distance of external objects.

Seismogram: A visual representation of geological movements and sounds.

Seismograph: An instrument used to measure the geological movements and sounds.

Sound Spectrograph: An instrument used to measure the way that a sound’s frequencies and intensities vary with time.

Spectrogram: A visual representation of sound, denoting frequency and time passage as the sound is made.

Websites Wild Music Website www.wildmusic.org

UBEATS Module 4/5 (16) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 1: How Do animal sounds relate to human music making?

Introduction: Scientists often debate whether or not animals truly make ‘music.’ Often, the sounds that animals make, including humans, are considered a source for biological function – they are an animal’s or person’s means of communicating the need to protect/warn against Learning Outcomes: Learners will dangers, find a mate, establish territories, or locate and identify identify their interpretations of what music is community members. (For example, a child might call out for his mother and be able to explain those interpretations in a crowded space to locate her.) Scientists recognize that people often to their peers. Learners will recognize the interpret other animal sounds as musical because our brains recognize use of music by humans as a use of patterns patterns and structures that are used in human music-making and to convey messages to one another, and because those sounds are often aesthetically pleasing. We humans use make connections between human music animal sounds to create musical expressions and use animal sounds as a and the use of sounds in the natural world. source of inspiration for music-making. Science Process Skills: Auditory Observation, Classification, Communication This lesson takes a look at how students interpret music and gives the teacher an idea of students’ prior knowledge regarding the use of music- Time: Two 45-minute sessions making in the natural world. One of the critical elements to all animal Materials: Science journals, pencils communication – including humans – is pattern recognition. Human brains and other animal brains search for repetition and imitation then seize on those combinations as a way of organizing information. This is why children’s songs and pop songs are composed with a lot of recognizable patterns that are repeated. These patterns enable recognition when songs Curriculum Alignment: are performed using musical tools (instruments) or by using the body National Science Education Standards in expressive ways such as humming, clapping, tapping, etc. It is why a dog responds to “let’s go for a walk” – the dog recognizes the pattern K-8 Content Standard A: Abilities necessary of sounds and their spoken rhythm and pitch. Recognizing patterns in to do scientific inquiry animal communication helps all critters recognize ‘who is who’ in their • Understanding about scientific inquiry environments and helps them organize the communication in order to • Employ simple equipment and tools to participate. Patterns are at the heart of music and all communication. gather data and extend the senses K-4 Content Standard C: Life Science • The characteristics of organisms • Organisms and their environments 5-8 Content Standard C: Life Science Engage Explore Explain Elaborate Evaluate • Regulation and behavior E • Diversity and adaptations of organisms 5 Engage : Organize students into five groups. Ask each National Music Standards group to answer one of the following questions Goal 6: Listening to, analyzing, and in a ‘Table Talk’ for two to three minutes. Have describing music the members of each group then share their Goal 7: Evaluating music and music question and thoughts with the class. performances 1. What is music? Goal 8: Understanding relationships 2. Is music a part of science? between music, the other arts, and 3. Is music human? disciplines outside the arts 4. How is music a part of communication? Goal 9: Understanding music in relation to 5. Are there patterns in music? history and culture The teacher should write these ideas down for the class reflection in later lessons.

UBEATS Module 4/5 (17) https://sites.google.com/a/uncg.edu/ubeats/home ExplorE: 1. Ask students, “What is a pattern?” Can students accurately explain what a pattern is? Have students point out visual patterns in the classroom or draw a visual representation of aural patterns. 2. Do students recognize musical patterns? (i.e., “Happy Birthday to You,” “Three Blind Mice”) Pattern recognition can include patterns of pitches or patterns of short/ long time units, i.e. rhythm. Ask students to look for a pattern in the music of their favorite song. Can students identify its patterns? Ask students to clap out the rhythm (see Concepts and Science Process Skills) of "Happy Birthday." Ask students to clap out the rhythm of their favorite song to see if other students can recognize the pattern. 3. Invite students to play a round of ‘Music or Not?.’ Play various sound samples for students such as: a. Banana Boat Song (http://www.youtube.com/watch?v=iMTNT_ BzkdA&feature=related) b. Kingfisher (http://www.soundboard.com/sb/KingFisher_bird_sounds.aspx) c. Humpback Whale (http://www.youtube.com/watch?v=xo2bVbDtiX8) d. Peer Gynt Suite (http://www.youtube.com/watch?v=etK9VJWcl-c) e. Tree Frog Ranges (http://animaldiversity.ummz.umich.edu/site/topics/ frogCalls.html) f. Chickadee Sample (http://www.soundboard.com/sb/Chickadee_bird_ sound.aspx) g. Loon Sample (http://www.youtube.com/watch?v=tThBGV5_JdM) As you play each sound sample, ask students to stand if they think the sample is music and sit if they think it is not.

Explain: Explain to students that the sounds they heard can be classified into one of three categories: vocalizations, animal songs, and human music making. As you go through the following descriptions with the students, draw the pyramid below on the board and have students copy it into their science journals.

Animal vocalizations are sounds with no identifiable beat or pattern. Humans typically do not understand the precise intention of most animal vocalizations, such as the call of a Loon or the sound of a Tree Frog. Some animal vocalizations, such a growling dog or a hissing cat, communicate generally-understood messages. Although any Human human hearing such sounds would probably know to ‘stay clear’ of the animal, the Music- precise meaning of a dog’s growl or a cat’s hiss is not necessarily understood. Human Making examples of vocalizations might include screaming or crying. Animal songs, the • Has repetition second set of sounds, do have repetition and patterns, but are still not understood • Has patterns and beats precisely by humans. These include samples such as the Kingfisher, the • Includes culture/emotion Humpback Whale, and the Chickadee. Sound Hierarchy• ChartCan be understood by humans The third type of sound, human music making, contains both patterns and

Animal Songs repetition, but also ties in human emotion and culture. Human music is the • Have repetition only type of music for which people are able to understand the message • Have patterns and beats behind the song. This includes examples such as the Banana Boat Song • Cannot be understood by humans and the Peer Gynt Suite. continued

Vocalizations • No identifiable pattern/beat

UBEATS Module 4/5 (18) https://sites.google.com/a/uncg.edu/ubeats/home Students have now taken the role of a scientist. Explain to students that scientists ask questions and look for ways to find the answers to their questions. This method of learning is referred to as scientific inquiry. Scientists often take notes in their work, recording thoughts and ideas that might help them later in scientific investigations.

Elaborate: 1. Replay for students the sounds again and see if they can figure out differences among each type of sound and the categories into which the sound samples might fall. Have them mark the song name or number in the appropriate tier of the pyramid in their science journal. Assess student knowledge by playing additional songs and sound samples and having students mark the type of sound for each sample – a vocalization, animal song, or human music-making. Students can also write in their journals why they grouped the songs as they did, stating “I think sample #1 was a … because…” Have students share their thoughts with their table teams and then share their table conclusions in a class discussion. 2. After hearing the selections, many may recognize that songs are a source of communication between two or more organisms. Music can be used to convey a message or purpose, using pitch and rhythmic patterns. Music is cultural; its interpretation and meaning is shaped by events going on in the organisms’ lives. The instructor may consider replaying each of the above sound samples and having students try to determine the messages being sent. 3. Based on their observations and thoughts, ask students to write down more questions they have about the uses of music. Do students feel animals use musical patterns in similar ways? Along with journaling these thoughts, students can share and discuss as a group or class. 4. As scientists, ask students how they feel animals might use sound patterns in the natural world. Can they think of any examples of animals that might use sound patterns as a means of communication? If so, which ones? Some examples may include the owl ('Whoo, Whoo') or the repetitious sound of the Chorus Frog and bird songs.

EvaluatE: 1. The student will identify their interpretation of what music is in their journal and in class discussions. 2. Students will recognize that patterns exist both in music and in the natural world. Teachers will observe students actively engaged in the class discussion and activity.

Extend: Humans often make music that imitates animal sounds. Below are some examples of composers who have drawn inspiration from nature and from specific animal sounds.

Ludwig Van Beethoven, Symphony No.6, Op 68 - 3rd Movement (http://www.youtube.com/watch?v=3c5cSRaCN9s) Antonio Vivaldi, “Spring” from The Fours Seasons (http://www.youtube.com/watch?v=dhHQAqtWyJg&feature=fvst) Paul Winter, “Lullaby from the Great Mother Whale for the Baby Seal Pups” (http://www.youtube.com/watch?v=iZqDonJ60fI) Paul Winter, “Wolf Eyes” (http://www.youtube.com/watch?v=r3JQF2NSlB0)

UBEATS Module 4/5 (19) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 1: resources

Vocabulary Animal Song: Simple, short, repetitive patterns and imitations often used to communicate with other animals – humans do not always know what they mean specifically.

Animal Vocalizations: Animal sounds without patterns – humans do not always know what they mean.

Beat: The basic unit of pulse in music.

Cultural: Relating to the ideas, customs, and social behavior of a society.

Hierarchy of sound: Low: Vocalizations (sounds without identifiable patterns) Middle: Animal Song (sounds with identifiable patterns) High: Human Music (sounds w/patterns, meanings, and cultural context)

Human music: Has cultural connotations that influence their meaning. When humans create music they tend to create much more complex patterns than do animals.

Rhythm: A regular temporal pattern of sounds or movements.

Websites Banana Boat Song http://www.youtube.com/watch?v=iMTNT_BzkdA&feature=related

Kingfisher http://www.soundboard.com/sb/KingFisher_bird_sounds.aspx

Humpback Whale http://www.youtube.com/watch?v=xo2bVbDtiX8

Peer Gynt Suite http://www.youtube.com/watch?v=etK9VJWcl-c

Tree Frog Ranges http://animaldiversity.ummz.umich.edu/site/topics/frogCalls.html

Chickadee Sample http://www.soundboard.com/sb/Chickadee_bird_sound.aspx

Loon Sample http://www.youtube.com/watch?v=tThBGV5_JdM

Ludwig Van Beethoven, Symphony No.6, Op 68 - 3rd Movement http://www.youtube.com/watch?v=3c5cSRaCN9s

Antonio Vivaldi, “Spring” from The Fours Seasons http://www.youtube.com/watch?v=dhHQAqtWyJg&feature=fvst

Paul Winter, “Lullaby from the Great Mother Whale for the Baby Seal Pups” http://www.youtube.com/watch?v=iZqDonJ60fI

Paul Winter, “Wolf Eyes” http://www.youtube.com/watch?v=r3JQF2NSlB0

UBEATS Module 4/5 (20) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 2: Where is sound in our environment?

Learning Outcomes: The learner will Introduction: Sound is created by objects that vibrate, which be able to identify a variety of sounds in produce sound waves. These waves travel through a medium and the environment, discuss the sounds using are received by our ears, which, along with our brains, process appropriate terminology, and identify the information into sound and create meaning. whether sounds are man-made or products of the natural world. A soundscape (see Concepts and Science Process Skills) is the combination of sounds that arise from an immersive Science Process Skills: Observation, environment. The teacher should visit the Soundscapes section Prediction of the Wild Music website (www.wildmusic.org) before beginning Time: One hour this lesson. In the Build a Soundscape area, the teacher can create soundscapes from a small variety of options. Because this Materials: Science journals, paper, lesson asks you to create some of your own soundscapes and soundscape recordings asks students to predict what sounds they would expect to hear Technology Resources: Computer with in particular environment before you play it aloud, you will need speakers and recording software such as to decide if you want to use Wild Music to create soundscapes or Raven Lite™ and digital recording devices if you want to record your own soundscapes. with playback ability such as iPhone, iPad, or a digital recorder such as Zoom H2. Data projector (optional)

Engage Explore Explain Elaborate Evaluate Curriculum Alignment: E National Science Education Standards 5 Engage: K-8 Content Standard A: Ask students what types of sounds they Abilities necessary to do scientific inquiry would expect to hear outside. Lead a • Understanding about scientific inquiry Think-Pair-Share activity in which students • Employ simple equipment and tools to generate lists of sounds they might expect gather data and extend the senses to hear. First the student should think on his/her own, then share K-4 Content Standard C: Life Science ideas with a partner, and then share ideas as a class. • The characteristics of organisms • Organisms and their environments Explore: 5-8 Content Standard C: Life Science 1. The students will take a sound walk • Regulation and behavior around the outside of the school to • Diversity and adaptations of organisms aurally observe their environment. 2. They will silently pause at several National Music Standards locations and close their eyes to concentrate on listening and processing what they hear. The teacher should allow time Goal 6: Listening to, analyzing, and for students to stop and record their observations in their describing music science notebooks. Goal 8: Understanding relationships 3. The teacher should carry a digital recording device to record the between music, the other arts, and sounds encountered on the walk. disciplines outside the arts

UBEATS Module 4/5 (21) https://sites.google.com/a/uncg.edu/ubeats/home Explain: Back inside, the students will discuss the sounds they heard in small groups. Have students volunteer a sound and identify its source. Students should also share their observations about the sound using musical terminology when appropriate. Their observations should include properties such as loud/soft (dynamics), far away/near, long/ short duration or rhythms, high/low (pitch), fast/slow (tempo), made by a machine, etc.

The teacher should discuss with the students how these sounds create a soundscape. Using the soundscapes you created at the Wild Music website or on your own, ask students to predict what sounds they would expect to hear in each environment’s soundscape. For example, in a recording of a forest, one might hear birds singing, insect sounds, wind blowing, tree limbs falling, leaves rustling, chainsaw running, etc.

Using the observations from their science notebooks, the students should create a visual soundscape to represent what they heard during the sound walk on drawing paper.

Once their drawings are complete, the students should share some of their sounds using description or pantomime, but will not actually name the object. Ask their classmates to guess what sound is being described. The teacher might begin by modeling an example, such as the wind, by fluttering her or his hands or using a phrase like “I blow gently through the leaves.” The various descriptions will create an illustrative view of how each individual interprets sound.

The students should discuss how these sounds relate to music. As a group, compare the themes of ‘the music of nature’ and ‘the nature of music.’ The teacher should facilitate the understanding of how individual sounds or groups of sounds combine to create a distinctive soundscape.

Elaborate: 1. The teacher should play back parts of the sound walk that was recorded allowing the students to compare their artistic depictions to the actual sounds they heard.

2. Using sticky notes, the teacher can help the students create a Hear-Think-Wonder chart to identify sounds that they may not have heard the first time. They should write what sounds they think they heard, guess what possibly made that sound, and record any questions they have or what puzzles them about the sound. See the following example.

Hear Think Wonder tweet tweet a bird (maybe a cardinal) When does a bird sing? beep truck What makes horn noises sound different?

UBEATS Module 4/5 (22) https://sites.google.com/a/uncg.edu/ubeats/home Evaluate: 1. Students should identify sounds in the environment as natural or man-made and identify reasons for sound (such as communication or extraneous noises). 2. Students should also use appropriate terminology to describe these sounds such as pitch, dynamics, tempo, and duration. Select a variety of sounds from your sound walk and soundscape recordings for this assessment.

UBEATS Module 4/5 (23) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 2 resources

Vocabulary Dynamics: See vocabulary list in Physical Science 1.

Environment: The area in which something exists or lives; the totality of surrounding conditions.

Human-made: Made by humans rather than occurring in nature.

Natural: Existing in or in conformity with nature or the observable world.

Pitch: See vocabulary list in Physical Science 1.

Sound: A particular auditory impression.

Soundscape: The combination of sounds that arises from an immersive environment.

UBEATS Module 4/5 (24) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 3: Are we aware of the sounds around us?

Introduction: Most 21st-century humans are reliant on the use of sight and do not realize how important sounds are to us for conveying information. Most of us unconsciously disregard Learning Outcomes: Learners recognize the large number and wide variety of sounds that inform us daily the wide variety of both naturally and about the environment. A blindfolded walk outdoors will allow man-made occurring sounds in their students to ‘open their ears’ to naturally occurring sounds that environment. By using a blindfold the might normally be overlooked by most people. Visually impaired learners will also recognize how important humans, as well as those who live close to the wild have keener a human’s hearing is for understanding awareness of sonic information than do others, so this experience the world. They will begin to use their ears provides typical students with a similar opportunity. and hearing with a new and enhanced awareness.

Science Process Skills: Auditory Observation, Prediction

Time: One hour

Materials: Blindfolds (one per student), Engage Explore Explain Elaborate Evaluate science journals, pencils 5E Engage: Inform students that they will be going

Curriculum Alignment: outside to identify sounds in their environment. Remind students that an National Science Education Standards important part of scientific studies is to

K-8 Content Standard A: Abilities necessary write down predictions that a scientist might propose in a given to do scientific inquiry situation. Give students a few minutes to record in their science • Understanding about scientific inquiry journals sounds that they think they will hear so that as scientists • Employ simple equipment and tools to they will be able to look back on their work and see if their thinking gather data and extend the senses changes. Students may opt to write their predictions or draw a visual representation in their journals. Ask students to share their K-4 Content Standard C: Life Science thoughts and compile a class list of the sounds they hear. • The characteristics of organisms • Organisms and their environments

5-8 Content Standard C: Life Science Explore: • Structure and function in living systems 1. Prior to exploring, it is essential for • Regulation and behavior the teacher to explain to the students • Populations and ecosystems the importance of listening and not • Diversity and adaptations of organisms speaking during this activity, as listening allows the students to hear new sounds. Take students National Music Standards to a quiet area on the school grounds, bringing their pencils, Goal 6: Listening to, analyzing, and journals, and blindfolds. describing music 2. In an outside space ask the students to spread out and sit down. Goal 8: Understanding relationships Have students put on their blindfolds and listen for different between music, the other arts, and sounds. After a few minutes, have students write down the disciplines outside the arts sounds that they heard in their journals. continued

UBEATS Module 4/5 (25) https://sites.google.com/a/uncg.edu/ubeats/home 3. When students describe the sounds that they heard, encourage them to think of the sounds in musical terms by using terms such as beat, dynamics, pitch, tempo, and timbre (see Concepts and Science Process Skills). Beat is the basic unit of pulse in music. If students are unfamiliar with beat, ask them to place their hand over their heart and have them feel the beat. Dynamics is a musical term describing the loudness or softness of a sound. Students can demonstrate the dynamics of their sound through the use of their voice in imitating the sound. Pitch is the highness or lowness of a sound as perceived by the auditory senses. Students can demonstrate vocally by raising and lowering their pitch of their voices. Tempo is the speed of sounds. Because students are outside they can demonstrate a fast tempo by running and a slow tempo by walking slowly. Timbre describes the quality of the sound (adjectives to describe the sound, such as 'scratchy,' 'bright,' or 'raspy'). Give students different timbre word and see if they can create a sound that is indicative of the given term.

Explain: Upon returning to the room, discuss with students the different sounds that they heard. Make a list of sounds heard that students could also record in their science journals. Students should use musical terms to explain what they hear. For example, a truck rumbling down the street could be described as 'low' for pitch, 'loud' for dynamics, and 'harsh' (as opposed to 'sweet') for timbre, and possibly ‘slow’ for tempo if there is a discernable beat to the truck sound, etc. Did the students hear anything unexpected? How did students feel when they had to rely on their ears instead of their eyes to recognize different creatures and sounds outdoors? What patterns did students notice in the sounds (i.e., the tumble of a dryer, the squeak of shoes in the hall, the sound of the toilets flushing, the thump of basketballs on the basketball court, the phone ringing in the office, etc.)? What animals can students think of that must also rely on hearing more than sight? How have these animals adapted to survive in the night? (Examples should include nocturnal animals such as bats and possums – or animals in jungles such as monkeys, parrots, and tigers - or animals living in oceans such as whales, and dolphins.)

Ask students to consider the patterns and adaptations that these animals must use for survival. Can students imitate any of the patterns that they heard outdoors? How might an animal use patterns for survival? Remind students of the previous lesson that introduced the purpose for animal songs. Ask students if they have heard of animal adaptations before? If so, can they describe what an adaptation is and how animals use them to survive?

UBEATS Module 4/5 (26) https://sites.google.com/a/uncg.edu/ubeats/home Elaborate: 1. Take the students to their designated location again, this time without the blindfolds. Ask students to bring their science journals and pencils and sit in an area by themselves. See if students can locate the source of the sounds that they heard originally, as well as sources of new sounds. How has their ability to rely on hearing changed since using the blindfolds? Are they more aware of how sounds give them important information? Are there sounds that compete with each other? 2. Now that students recognize the sources of the different sounds, encourage them to create representations of the patterns in the sounds (if applicable) in their journals. Do students consider any of these sounds or patterns to be an adaptation? How so? 3. Now that students realize how important listening is, are there ways they can they protect their hearing?

Evaluate: 1. Ask students to write about a sound that they heard that was not expected or an experience during the lesson that surprised them most. 2. Ask students: How does your sense of hearing influence the way you interact with the environment around you? How, as a scientist, does this make you think of doing research and experiments? Do scientists always get the outcome that they expected?

UBEATS Module 4/5 (27) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 3: resources

Vocabulary Animal Adaptation: A change in an animal’s anatomy or behavior for the purpose of survival in its changing environment.

Beat: See vocabulary list in Physical Science 2.

Dynamics: See vocabulary list in Physical Science 1.

Pitch: See vocabulary list in Physical Science 1.

Tempo: The speed of sounds.

Timbre: See vocabulary list in Physical Science 1.

UBEATS Module 4/5 (28) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 4: How do animals create sound?

Learning Outcomes: Learners will understand the basic concepts of sounds including sound waves, pitch, and dynamics. In addition, learners will recognize that animals Introduction: Animals use specific sounds, calls, and songs to create a wide variety of sounds. Finally, communicate with one another in a wide variety of environments. learners will understand how body type and The type of sound an animal makes depends on its species and how size affect sound production and some ways in it uses its body and habitat to create sound. Over years of evolution, which animals manipulate acoustical aspects animals have had to adapt to their changing habitats. Specifically, to enhance their calls and sounds. animals have adapted their animal songs and calls to fit the habitat in which they live. They have also learned to utilize ‘tools’ (i.e., Science Process Skills: Observation, objects and environmental characteristics) from their natural world Inference, Prediction to ensure their calls are heard by like species. In this lesson we Time: One hour will review some basic concepts of sound production and show how animals utilize those same concepts in adapting their sonic Materials: Tuning forks for the class, communication to their changing environments. rubber bands (one large and one small per student), three or four coffee cans, wax paper, cellophane, aluminum foil, salt, toilet tissue tubes (one per student). science journals, pencils, recording devices, internet access, materials for sound labs: hand drums, bells, cymbals, xylophone, glockenspiel, maracas, Engage Explore Explain Elaborate Evaluate Boomwhackers, etc. of varying size [Resources for hand drums, bells, cymbals include local 5E music teachers and music organizations.] Engage: Technology Resources: Raven Lite™ 1. Play a sample sound for students such as a sound made by the woodpecker. Ask students to describe the sound in terms of pitch, timbre, and dynamics. Curriculum Alignment: What animal is making this sound? How? Ask students if they think all animals make sounds in the same way. National Science Education Standards 2. Lead the class in singing a simple known song (e.g., “Twinkle, Content Standard A: Abilities necessary to do Twinkle, Little Star,” or “Mary Had a Little Lamb”) on a neutral scientific inquiry syllable such as ‘Doo.’ Once the students are strong and • Understanding about scientific inquiry confident in their vocalizations, ask them to repeat the song while • Employ simple equipment and tools to touching the front of their necks with the fingers covering the gather data and extend the senses voice box. The teacher should model this behavior. Say: “Feel Content Standard B: Physical Science your throat as you are singing this song. What do you feel while • Position and motion of objects you are singing? Does this remind you of any of the tools we • Sound is produced by vibrating objects, have used in previous lessons (e.g., tuning fork)?” the pitch of the sound can be varied by changing the rate of vibration

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UBEATS Module 4/5 (29) https://sites.google.com/a/uncg.edu/ubeats/home Content Standard C: Life Science Explore: • The characteristics of organisms 1. Inform students that they will investigate • Organisms and their environments different ways that sounds are made. Content Standard C: Life Science Provide students with a wide variety of • Structure and function in living systems tools to use for experimentation, such as • Reproduction and heredity those suggested below: • Regulation and behavior • Classroom instruments, such as a bass xylophone, • Populations and ecosystems Glockenspiel, maracas, hand drums of varying sizes, • Diversity and adaptations of organisms Boomwhackers National Music Standards • ‘Found sound’ items such as paper bags to crumble, drinking glasses with water, and sticks to break Goal 4: Composing and arranging music • Bird whistles, duck calls within specified guidelines • Kitchen Percussion such as pots and pans, glasses filled with Goal 6: Listening to, analyzing, and water, and different types of spoons and containers. describing music 2. Allow students time to explore the variety of sounds produced with Goal 7: Evaluating music and music these materials. Ask students to consider the following questions performances when experimenting: Goal 8: Understanding relationships a. Did the size of the instrument affect the sound? between music, the other arts, and b. Did the materials the instrument is made from affect the disciplines outside the arts sound? Goal 9: Understanding music in relation to c. How did your instrument produce sounds? history and culture d. Did any of the instruments sound similar? Explain your answer. e. How do you think changing the environment changes the sound made by the instrument? Would an instrument sound the same in the classroom as it does in a closet, the bathroom, the gymnasium, or outdoors? What terms have we studied so far that can be applied to these changes?

Explain: Students should present their findings from the activity. Encourage and guide a class discussion on similarities and differences between instruments and the sounds produced by them.

Discuss with students what caused the tuning forks to make a sound. Ask students what their throat and the tuning fork had in common. Students should recognize that both were vibrating when sound was created. Discuss what made them vibrate. A vibrating tuning fork creates a longitudinal wave. When students strike the tines of the fork, the tines vibrate back and forth and push on neighboring air molecules. The forward motion of a tine pushes air molecules horizontally to the right and the backward retraction of the tine creates a low-pressure area allowing the air particles to move back to the left.

When the human diaphragm pushes air from the lungs through the vocal chords it causes the vocal cords to vibrate, resulting in sounds. Have students sing again with their hand on their throat to feel the variation of

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UBEATS Module 4/5 (30) https://sites.google.com/a/uncg.edu/ubeats/home vocal cord position for high and low pitch vocalizations. Share with students a video of a transnasal stroboscopy (www.voiceinfo.org) so that students can see what is actually happening as they use their vocal cords to create sound.

Establish the idea that the vibrating mechanism inside of the throat is the larynx. Many people call it their voice box. The larynx houses the vocal cords. During speech, the vocal cords are stretched across the larynx. As air pushes between the cords, they vibrate and produce sound. Various muscles adjust the tension and space of the vocal cords, causing variations in pitch of the sounds.

Elaborate: 1. Have students extend and pluck a large then a small rubber band to simulate the varying vibrations of the vocal cords. Ask students to observe and record the differences they notice between the large and small rubber bands. How is it similar to the video they saw of the vocal cords? 2. Have students make a kazoo by securing wax paper over one end of a tissue roll with a rubber band. Pucker the lips and hum/toot into the tube. Have students feel the wax paper as they blow. What happens when students hum or toot louder? Softer? 3. Ask students to brainstorm any animals that might make sounds in a way similar to humans to communicate with other members of their species. The voice in humans is produced by the larynx. In birds it is produced by a syrinx. Review the concept of a habitat with students. A habitat is an animal’s home, including its source of food, water, shelter, and space. Compare animals from different habitats with students and discuss how their needs to communicate might be different from one another and why. For example, a whale in the ocean is going to have a different way of communicating due to its size, the ocean’s poor visibility, and the fact that its habitat is a large body of water compared to a cardinal communicating with another cardinal living close by in the trees. Sound does not travel equally through all materials. Sound waves travel faster through mediums where molecules are closer together. 4. Invite students to think of a list of animals of varying size and habitat. Ask students to consider different ways these animals make sound. Do animals use special parts of their bodies? Do animals use tools? Do animals take advantage of their habitat’s acoustics? Examples may include: hitting or tapping on an object such as the woodpecker; tail or fin slapping by dolphins and whales. Can students think of other animals that make sounds and how those sounds are produced? Some examples might include chest beating by gorillas, singing by birds, or using the environment’s solids, liquids or gases as tools to help send a message more effectively. Ask students to identify ways animals use their habitats’ sound characteristics to help them make sounds (e.g., frogs, dolphins, and whales all rely on water as a means to send a message). 5. Encourage students to consider looking at how animals have adapted to their habitats to make their sounds effective. Take students outside to look for examples of animals using any available resources (i.e., their bodies or external tools) to communicate. Do students notice any insects, birds, or other species using communication resources? What types of resources are the animals using? 6. Allow students to select an animal of their choice and do research on how the animal communicates. Students may use the internet as a resource for information.

UBEATS Module 4/5 (31) https://sites.google.com/a/uncg.edu/ubeats/home Evaluate: 1. Create a Venn diagram comparing and contrasting vocal sound production and different types of instrumental sound production. 2. Have students imagine or make up a brand new animal. They should describe the size of their animal, what it looks like, and its habitat. Based on these elements, the students should then describe what kind of sound their animal might make. Now suggest a change in the animal’s habitat and ask the student to develop an adaptation their animal might use to overcome the challenges that an environmental change might pose.

Life Science 4: resources

Vocabulary Acoustics: The study of how sound behaves.

Amplification: A natural or artificial device intended to make a signal stronger.

Animal Adaptation: See vocabulary list in Life Science 3.

Habitat: An animal’s home, including its source of food, water, shelter, and space including its soundspace.

Larynx: Organ of voice in mammals; commonly known as the voice box; tubular chamber about two inches high in adult humans, consisting of walls of cartilage bound by ligaments and membranes, and moved by muscles.

Syrinx: The vocal organ of birds located at the base of a bird’s trachea which produces sounds without the vocal cords of mammals. The sound is produced by vibrations caused by air flowing through the syrinx. Unlike the larynx of mammals, the syrinx is located where the trachea forks into the lungs, and because of this some, songbirds can produce more than one sound at a time.

Tuning Fork: An acoustic resonator in the form of a two-pronged fork with the tines formed from a U-shaped bar of elastic metal.

Vibration: See vocabulary list in Physical Science 2.

UBEATS Module 4/5 (32) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 5: How can humans represent animal sounds?

Introduction: Animals produce a wide range of sounds found in the environment. The type of sound an animal makes depends on its species and how its body and habitat are used to create sounds. Students will Learning Outcomes: The learners will create a visual representation of an animal’s sound. recognize that animals create a wide variety of sounds and understand the ways in which different environments affect sound production. Learners will extend their understanding by visually depicting animal sounds using a variety of methods including spectrograms and sound maps. E Engage Explore Explain Elaborate Evaluate Science Process Skills: Observation, 5 Inference Engage: Ask students how they think scientists might Time: Forty-five minutes create a visual representation of the sounds Materials: Science journals, pencils, they hear outdoors. Play for students the sound recordings of animal sounds, computer with sample of the Canyon Wren from Raven Lite™ Raven Lite™, construction paper, poster and have them listen and think of how they could show that sound in board, markers, stickers, cloth, crayons, puff a picture. Model for students how you would represent the changes in paint, cotton balls, glue, Googly eyes, old (melodic) contour (see Concepts and Science Process Skills) of the pitch magazines, sand, glitter, and other art supplies as the wren calls (see sample picture below).

Technology Resources: Raven Lite™

Curriculum Alignment:

National Science Education Standards

K-8 Content Standard A: Abilities necessary to do scientific inquiry • Understanding about scientific inquiry • Employ simple equipment and tools to gather data and extend the senses K-4 Content Standard C: Life Science • The characteristics of organisms • Organisms and their environments

K-4 Content Standard E: Science and The teacher should organize the class into small groups. Each group Technology should be assigned an animal sound to analyze from the Raven Lite™ • Understanding about science and software. Students in each group should begin by looking at a picture technology of their animal and reading a short description of its habitat. It would be 5-8 Content Standard C: Life Science best to create these descriptions using the animals you want students to • Structure and function in living systems select from Raven Lite™. In their journals, students should answer the • Regulation and behavior following question: • Diversity and adaptations of organisms What kind of sound do you expect your animal to make and why? continued next page Use words like pitch, duration, timbre, and rhythm to describe the sound.

UBEATS Module 4/5 (33) https://sites.google.com/a/uncg.edu/ubeats/home National Music Standards

Goal 4: Composing and arranging music within specified guideline Goal 5: Reading and notating music Goal 6: Listening to, analyzing, and describing music Explore: Goal 7: Evaluating music and music 1. Teachers should distribute large poster-board and performances art materials (see materials list for suggestions). Goal 8: Understanding relationships Students in each group will be invited to listen to between music, the other arts, and their animal sound. disciplines outside the arts 2. Students should create a sound map or visual representation of their animal sound showing pitch contour, duration, rhythm, and timbre. Remind students that not only do scientists keep notes in their journals, as they have been doing throughout the lesson, but scientists also keep track of data and predications through the use of symbols, graphs, and other visual representations. The key to accurate scientific study is to be thorough and notice minute details, something students should be encouraged to do in drawing their animal sound map.

Explain: After students have completed their sound maps, ask each group to explain why they chose certain colors, textures, and contours to represent animal sounds. Students should draw correlations between animal tone, method of sound-making, and habitat to answer this question.

Sample of student listening map, using Raven Lite™ sound sample (Northern Flicker Flicka)

UBEATS Module 4/5 (34) https://sites.google.com/a/uncg.edu/ubeats/home Elaborate: 1. Raven Lite™ provides spectrograms for each of their sound samples. A spectrogram represents a sound along an x and y axis, with the x axis representing the passage of time and the y axis representing the frequency of the sound (higher pitches show higher on the y axis, etc.). For example, the spectrogram below shows darker lines for stronger amplitudes, and each section of blue represents the bird’s call.

Bird spectrogram from http://www.thayerbirding.com/

2. Have students examine their animal’s spectrogram on the Raven Lite™ software again. While they listen to their animal sound again, ask students to follow along with the spectrogram. How is the spectrogram similar to their sound map? Does the spectrogram help students to understand the contour, rhythm, etc. of the animal sound?

For additional samples of spectrograms, visit the URLs listed below. These spectrograms provide good opportunities to demonstrate the syrinx making more than one pitch. http://www.wired.com/images_blogs/photos/uncategorized/2009/03/19/rosetta.jpg (Bird Spectrograms, illustrating the sound of the bird) http://www.wired.com/images_blogs/photos/uncategorized/2008/09/10/biophony1.jpg (Look at a variety of species together, showing high and low frequencies of sound) http://www.wired.com/images_blogs/wiredscience/images/2008/09/10/biophony2_2.jpg (Two spectrograms, the first showing the Amazon Basin prior to jet interference and the second showing the effects on animals during jet interference)

Evaluate: 1. Ask students to explain the similarities between a spectrogram and a listening map. 2. Ask students to describe their listening map in their journal, including terms such as pitch, amplitude, and timbre.

UBEATS Module 4/5 (35) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 5: resources

Vocabulary Duration: The length of a sound (i.e. how long or short).

Sound map: A visual representation of sound, denoting pitch contour over time.

Spectrogram: See vocabulary list in Physical Science 3.

Websites Creating Music Website http://www.creatingmusic.com/ Here students can experiment with visual representations of pitch and rhythm, This website presents musical contour and rhythm and provides students a visual reference for each. For an extra challenge, encourage students to create sounds that they would hear in the wild – remind them that sounds that cannot be replicated are of no use to a species for survival, as animals need to be able to communicate effectively with one another to find a mate and warn of danger.

Spectogram Websites http://www.wired.com/images_blogs/photos/uncategorized/2009/03/19/rosetta.jpg http://www.wired.com/images_blogs/photos/uncategorized/2008/09/10/biophony1.jpg http://www.wired.com/images_blogs/wiredscience/images/2008/09/10/biophony2_2.jpg

UBEATS Module 4/5 (36) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 6: What is the value of a signature sound?

Introduction: Animals use specific sounds and calls to communicate with one another in a variety of environments. If you were a different kind of animal living in the wild, what sort of sounds would you make to distinguish yourself from other animals? Students will work in pairs Learning Outcomes: The learners will to create a unique sound pattern that represents their species. Students recognize that animals create a wide variety will use dolphin calls to understand signature sounds and animal of sounds. Learners will begin to see that communication. They will then try to locate each other in a crowded animals use adaptation in order to room with other ambient sound, using their signature sound. communicate with each other effectively.

Science Process Skills: Aural Observation

Time: Forty-five minutes Engage Explore Explain Elaborate Evaluate Materials: Science journals, pencils, E recordings of dolphin sounds 5 Engage: Technology Resources: CD player Students should have their science journals ready. The teacher will play recordings of dolphin sounds (from the site: http://neptune. atlantis-intl.com/dolphins/sounds.html). While Curriculum Alignment: students listen, ask them to journal, answering the following questions: National Science Education Standards 1. What animals are making this sound? How do you know? Describe this sound using words like: high, low, tempo, K-8 Content Standard A: Abilities necessary contour, rhythm. to do scientific inquiry 2. Do you hear any patterns in these sounds? Can you draw a • Understanding about scientific inquiry shape/line/picture to represent this pattern? • Employ simple equipment and tools to Dolphins live and travel in groups in the ocean where visibility is low. gather data and extend the senses Recognizing members of the group is critical to survival. Dolphins work K-4 Content Standard C: Life Science together and stay together to make sure the members of the group eat, • The characteristics of organisms are aware of danger, are travel together. They create a ‘signature sound’ • Organisms and their environments for their pod so that they can recognize each other. 5-8 Content Standard C: Life Science • Structure and function in living systems • Regulation and behavior Explore: • Populations and ecosystems 1. Organize students into pairs or small groups. • Diversity and adaptations of organisms 2. Inform students that today they will make their own signature sound. Ask students to National Music Standards make a sound that meets the following Goal 4: Composing and arranging music criteria: within specified guidelines • The sound is unique to their pod Goal 6: Listening to, analyzing, and • The sound can be replicated easily by other members of describing music their pod. (This is a great time to point out how a sound that Goal 7: Evaluating music and music cannot be replicated is of no use to a species – the animal’s performances message to its community would not get across, decreasing Goal 8: Understanding relationships the chances for survival) between music, the other arts, and • The sound has an identifiable pattern for the listener to identify disciplines outside the arts and replicate Goal 9: Understanding music in relation to continued history and culture

UBEATS Module 4/5 (37) https://sites.google.com/a/uncg.edu/ubeats/home 3. Ask the students to create a sound that could be used to identify themselves in a large group. Remind students that, like animal calls, their sound must be short, memorable, and easily imitated by others from the species. ‘Memorable,’ in this case, means a unique pattern. Students’ signature sounds must be easily discerned by members of the pod and not sound similar to those of other pods.

Explain: After creating their signature sound, ask students to demonstrate their sounds for the class. Ask students to describe their sounds using musical words (e.g., pitch, contour, rhythm, tempo, and patterns). Students must also explain why they chose their particular sonic elements for their pod’s signature sound.

Discuss with students the value of having a distinct vocalization or signature sound associated with an animal species. Why do animals want to be able to tell the difference between members of their community? Provide examples such as chimpanzees identifying intruders to their community by the use of sound, bees helping lost members back to the hive through sound, and young animals locating their mothers through sound. A distinct sound provides animals one of the means to survive in the wild.

Ask students to notice that they are able to remember patterns of sounds such as signature sounds, songs, iconic sounds on the computer. This is called ‘musical memory.’ Humans and other animals rely on this memory for survival.

Elaborate: 1. Lead students into an open space, preferably an auditorium or gymnasium. One group at a time, students should try to communicate with each other across various distances and over the general noise of their classmates. 2. Groups should then discuss the effectiveness of their signature sounds. Ask students how their experience might be similar to an animal’s experience in its habitat? If time and circumstance permit, consider blindfolding two students at a time and repeating this activity. 3. Ask students what challenges they faced in having to rely solely on sound to locate or identify each other. Are there other sounds in the environment competing with their signature sounds? How do they think animals overcome these challenges? Answers should refer to adaptations, to habitat, and to species’ characteristics. Examples can include dogs and cats moving their heads and ‘perking’ their ears in response initial sounds or a bat positioning its large ears to be better able to hear sound echoes. 4. Ask students if they remember each other’s signature sounds. Can they identify others by their sounds?

UBEATS Module 4/5 (38) https://sites.google.com/a/uncg.edu/ubeats/home Extend: Whales and dolphins rely on sounds to communicate with each other in the ocean. Ask students if there are sounds in the ocean that compete or could ‘mask’ the whales and dolphins sounds? (These include anthropogenic sounds: boats, tankers, sonars, drilling; and geological sounds: earthquakes). How do they think this affects the animals?

Evaluate: Students may respond to the following questions using their science journals: 1. Could you effectively communicate using your signature sound? 2. Could your partner hear you over competing sound? 3. Was your sound similar to any others? 4. If necessary, how could you change your sound to be truly unique? 5. How does having a unique sound enable an animal species to survive?

UBEATS Module 4/5 (39) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 6: resources

Vocabulary Animal Adaptation: See vocabulary list in Life Science 3.

Anthropogenic: Man-made

Musical Memory: The ability to remember patterns of sounds for survival, recognition, and communication.

Signature Sound: A unique animal vocalization or call that is recognized within a species.

Unique: Existing as a solo, having nothing else similar or with similar characteristics.

UBEATS Module 4/5 (40) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 7: How does the environment affect animal sounds?

Learning Outcomes: The learner will Introduction: Animals use specific sounds and calls to communicate identify differences in aural and visual with one another in a wide variety of environments. Over years of sound representations based on changing evolution, animals have had to adapt to their changing habitats. environments. The learner will recognize Specifically, animals have adapted their animal calls to fit the habitat in that the environment can shape the way which they live. Animals can also use 'tools' from the natural world to that a sound is heard. ensure that their calls are heard by like species. The primary role of this lesson is for students to identify ways that a changing the environment Science Process Skills: Observation, can affect how a signature sound is heard. Inference

Time: One hour

Materials: Digital recording devices, Raven Lite™, science journals, pencils 5E Engage Explore Explain Elaborate Evaluate Curriculum Alignment: Engage: Inform students that today they will put their National Science Education Standards signature sounds to the test. Students will go K-8 Content Standard A: Abilities necessary out and test their signature sounds in different to do scientific inquiry environments to see if they sound the same in • Understanding about scientific inquiry each environment. Ask the students to brainstorm a list of places where • Employ simple equipment and tools to they would like to test their signature sounds, write that information in gather data and extend the senses their journals, and share their ideas with the class. Decide what places will K-4 Content Standard C: Life Science work best in terms of teacher monitoring and school environment, etc. • The characteristics of organisms • Organisms and their environments Explore: K-4 Content Standard E: Science Ask students to pair up with their signature and Technology sound partner from Life Science 5. Once the • Understanding about science and class has selected four to five places to test their technology sound, have the partners go out and record 5-8 Content Standard C: Life Science their signature sound on the recorder in each location. Students should • Structure and function in living systems keep track of the order in which they record each location. Each student • Regulation and behavior may want to try the sound to ensure equal participation in the activity. • Populations and ecosystems Ask students to also bring along their science journals and pencils so that • Diversity and adaptations of organisms they can write down any aural differences they are able to detect among • Organisms and environments the various environments. A sample chart is shown below: National Music Standards

Goal 1: Singing, alone and with others Goal 2: Playing instruments, alone and Location Hallway Bathroom Closet Playground with others Sound Loud Loud, echo Muffled Hard to hear Goal 3: Improvising, within specific guidelines Description Class in Empty Full of coats Two classes Goal 6: Listening to, analyzing, and of Location hallway backpacks, outside playing describing music etc. and yelling, Goal 8: Understanding relationships cars on road between music, the other arts, and disciplines outside the arts

UBEATS Module 4/5 (41) https://sites.google.com/a/uncg.edu/ubeats/home Explain: When students return to the classroom, ask them to describe the differences in their signature sounds when they changed environments. Did students notice any discernable differences? Why do they think the differences occurred?

Students should recognize that the medium through which sound travels (water, gas, solid) affects how the sound is heard. Ask students to predict what their signature sounds might look like when downloaded to Raven Lite™ and illustrated in spectrograms. Do students think that there will be any differences in the sound’s visual representation? If so, what do they think will be different? Have students write their predictions in their science journals.

Elaborate: Ask students to download their sound samples to Raven Lite™. Once there, make sure students correctly label each sound sample with the person’s name and where the sound was recorded. Have students print out or view their different environment spectrograms on Raven Lite™. Do students notice any similarities or differences in the visual representations of each sound? To what do students attribute these differences?

Remind students of their descriptions of each environment. Do any of the other sounds that they heard affect the representation of that environment? The sounds should be the same in pitch; however, other ambient noise might affect the readings and the visual representation or the acoustic may affect the length or amplitude of the sound (expressed on the x axis). Based on their spectrograms can students identify which environment is best suited to their signature sound? Can listeners hear the patterns and sounds clearly? If not – why? Which environment was easiest or hardest to communicate in? Have students describe their environment in their science journal and justify why they think that their sound would work best in that environment.

Evaluate: Review student journal entries and spectrograms to ensure that students have correctly interpreted the differences in sounds, have made their predictions, and have explained the rationale behind their predictions.

Teacher Recommendation: The amount of recording devices available for students will affect how quickly this lesson is completed. As students wait their turn to record their signature sounds using the recording devices, it is beneficial to have an additional activity for them to complete. We suggest having students create an animal to fit in *one of the habitats where they plan to record. Their animal should reflect different adaptations to better survive in this habitat. Students can also create a new signature sound for this animal, and present their animal and its sound to the class. Allow students to bring posterboard, coloring items, and other materials outside with them to work on this project while they wait their turn.

UBEATS Module 4/5 (42) https://sites.google.com/a/uncg.edu/ubeats/home Life Science What sounds do whales use to communicate? 8: How do they hear these sounds?

Introduction: All animals need to communicate with each other and Learning Outcomes: The learner will use communication systems unique to their species. Communication classify cetaceans (i.e., an order of marine systems that are based on sound patterns reflect the animal’s abilities to animals that includes whales, dolphins, send, receive, and classify sounds. We humans use unique sound patterns and porpoises) and the sounds they create in language and music, and other animals use sound patterns unique to as songs. The leaner will identify the ABA their species to communicate. Some species of large-brained animals (i.e., (ternary) form, the basis of whale song ratio to body size) can invent complex, new sound patterns and others can construction. vary the species’ song for habitat adaptation. For instance, Songbirds learn Science Process Skills: Observation, and remember their songs when they are young. The song they learn is Measurement, Communication based on their species as well as their geographic location. Two individual birds of the same type will have different versions of their species’ song Time: One hour due to the dialect variation in their region. But an important example of Materials: Rope – 150 ft, measuring tape, regional songs and of species innovation is found in the inventiveness scissors, pictures of three different whales of Humpback Whales. Male humpbacks create seasonal songs during a (blue (27 m or 90 ft), humpback (15 m or 50 six-month period each year. Humpbacks in the same ocean create each ft), and an orca (6 m or 19.5 ft), incorrectly season’s song together and then sing the same complete song. The songs called a killer whale because it is actually the are combinations of pitch patterns and rhythmic patterns and usually last largest dolphin. 10 to 15 minutes although some songs can last longer than 35 minutes. Patterns are strung together to create phrases that are further grouped Technology Resources: Computer with together to create the new season’s song. Researchers have discovered internet access that whales use repetition and variation in their songs that may serve as a memory device. Humpback whales have musical memory because they can remember their seasonal song six months later and repeat it. Curriculum Alignment: Humpback Whales use similar patterns as human music-making. Although Humpback whales come to agreement on the season’s song each year, National Science Education Standards they continue to modify and make changes over many years. Whale song Content Standard A: Abilities necessary to do researchers study the evolution of the song over many years as a way of scientific inquiry understanding the culture of whales and which individuals are influential. • Understanding about scientific inquiry By using imitation and variation whales co-create variations of the song. • Employ simple equipment and tools to Whale songs are considered to be the loudest of all animal songs. Because gather data and extend the senses males are the ones that sing songs, scientists believe that the object of Content Standard B: Physical Science the song may be to attract a mate and also to ward off any other males by • Position and motion of objects declaring territory. But no one knows for sure. The objectives of BioMusic • Sound is produced by vibrating objects, researchers include gaining a better understanding of the linkages between the pitch of the sound can be varied by musical sounds in all species. changing the rate of vibration Content Standard C: Life Science • The characteristics of organisms Advanced Preparation: • Organisms and their environments Download Audio for: • Blue Whale - http://macaulaylibrary.org/audio/128262 National Music Standards • Humpback Whale, April 2006- http://www.whalesong.net/index.php/

Goal 6: Listening to, analyzing, and the-whalesong-project/sounds/whale-songs describing music • Orca - http://macaulaylibrary.org/audio/120598 Goal 8: Understanding relationships between music, the other arts, and disciplines Put the sound file into Raven Lite™ and create a spectrogram for each outside the arts whale’s song.

UBEATS Module 4/5 (43) https://sites.google.com/a/uncg.edu/ubeats/home 5E Engage Explore Explain Elaborate Evaluate

Engage: Inform students that they will be studying a group of animals called cetaceans and that they will examine the ways that some cetaceans communicate with each other. To get a perspective of the massive size of some cetaceans, have the students measure out and cut ropes the length of the three featured cetaceans, the blue whale (27 m or 90 ft), the humpback whale (15 m or 60 ft), and the orca (6 m or 19.5 ft). How does the size of each animal compare with the size of the students?

After students measure out the size of each whale show them pictures of the whales and discuss the other visible physical characteristics. Ask students how whales might hear. (Because there are no visible ears, students should come up with other answers, accept all responses).

Explore: 1. Have students strike a tuning fork on a hard surface and place the handle to their chin with the tuning fork pointing horizontally out from their head. Discuss what they feel and hear. (Students should discuss how they can hear the tuning fork sound in their ears and feel the vibrations through their jaws.) Ask students how they think this might relate to whales’ hearing. Allow students to listen to the sounds of the three different cetaceans. Have the students represent these sounds graphically in their science notebooks. Play the three cetacean songs again while showing unlabeled spectrograms of each song and ask the students to identify which spectrogram goes with which audio file. Ask the students to verbally describe the sounds using music terms such as melodic contour, tempo, timbre. 2. Now play again the humpback whale song “April 2006.” (Play April 2006 track, 3:31 at: http://www.whalesong.net/index.php/the-whalesong-project/sounds/whale- songs.) Ask students to identify any patterns they hear in the song. Students will hear sounds that include trumpet-like sounds, trills, grunts, growls, and squeaks. This song is comprised of repeating sounds that form patterns. The patterns form phrases. See if the students can identify same/different patterns and repeating phrases. Some of the phrases will seem only slightly different initially but will become more elaborate variations. Ask the students to represent these variations in their science journals. See if the students can vocalize imitations of the phrases. 3. Ask students why they think the whale or orca can hear and imitate a variety of sounds (students should state that the whale or orca is communicating with others). In groups of four, have students play a game of ‘telephone’ but without using words. Create one or two sound patterns that everyone can initially repeat; then add more and different patterns to the song each time. Practice and present it to the class. Relate this to how humpback whales add variations and new phrases to create the group’s song. Share with students that: A. Songs are based on sound patterns. B. In animal songs and human music, sound patterns repeat so that listeners can remember them. In human music, repeated sound patterns convey importance. Both music and language use patterns.

continued

UBEATS Module 4/5 (44) https://sites.google.com/a/uncg.edu/ubeats/home C. Constant repetition of the same sound pattern over time becomes uninteresting or unimportant and can become easy to ignore. Can students identify sound patterns in their lives that they ignore? In animal songs and in human music-making, variation of a sound pattern grabs the listener’s attention. Variety creates ‘surprise’ and grabs listeners and keeps them interested in what is coming next. Surprise also helps listeners remember the sound pattern. How might this be similar to the songs created by the whales?

Explain: Show students an anatomical picture of a whale that identifies how sound travels in the jaw bone. Explain to students that what is also very different in whales with respect to other mammals is the path of sound to the inner ear. In terrestrial mammals, sound vibrations that traverse the air are received by the tympanum, and the chain of ossicles (small bones in the middle ear) amplifies these vibrations and transmits them to the cochlea. This is not efficient under water, where much of the sound is lost at each water-air/air-water interface. Sound waves are received by whales in the lower jaw, and transmitted to the middle ear by means of a specialized soft tissue or ‘fat pad’ that extends from the lower jaw to the middle-internal ear. There, the tympanic membrane and the tympanic plate perceive different vibration frequencies. Studies of mammal embryos have shown that ossicles are attached to the dentary, or jaw (see the diagram). Later in development, the cartilage that hardened to bone breaks apart from the jaw and migrates to the inner ear. http://scienceblogs.com/ Provide students an opportunity to feel sound vibrations in their jaws. Have retrospectacle/2007/02/what_ students strike a tuning fork on a hard surface and place the handle to their chin with does_a_whales_ear_look_li.php the tines facing outward and horizontal. Ask the students if they can hear the tuning fork sound in their ears and feel the vibrations in their jaws. How is this similar to the whale’s hearing?

Elaborate: 1. Have students listen to more whale song recordings using the Macaulay Library or WhaleSong.net. Analyze the recordings and identify similarities between human and cetacean song structures. Songs students may use for comparison include “Twinkle Twinkle Little Star” and “Baa Baa Black Sheep.” Students should be able to compare phrases, variations, rhythm, melodic contour, and tempo. 2. Assign students into three groups or pods. Each pod will utilize one of the spectrograms used in the lesson. Each group will explain what the spectrogram represents (i.e., time/frequency/amplitude) and consider what it would sound like by noticing same and different patterns and variations. Then, each pod will recreate the sounds of their spectrogram by imitating the same/different patterns (ABA) and variation of the rhythmic and melodic patterns shown in their spectrogram. Pods may use kazoos, xylophones, metallaphones, melody bells, keyboards or recorders to demonstrate their performances. Have spectrograms displayed at the front of the room. Pods will share their compositions with the entire class without identifying which spectrogram they are interpreting. Compositions should be accurate enough for the remaining groups to analyze and identify the spectrogram that is being replicated.

UBEATS Module 4/5 (45) https://sites.google.com/a/uncg.edu/ubeats/home Evaluate: Graphic representations of songs, recognizing difference in songs of various whales, identifying three distinct whale sounds.

Life Science 8: resources

Vocabulary Classifying: Grouping entities based on their common relationships.

Same/Different Patterns (ABA): Alternating patterns in order to remember longer sound combinations or songs. In human music-making a typical form is ABA in which the first section (A) is repeated after a contrasting section (B).

Variation: A compositional form whereby an initial melodic pattern is altered when performed again. Humans have developed this compositional device into a musical form called Theme and Variation in which each statement of the opening theme is altered through extensions, ornamentation, and other elaborations.

Websites Blue Whale http://macaulaylibrary.org/audio/128262

Humpback Whale, April 2006 (3:31) http://www.whalesong.net/index.php/the-whalesong-project/sounds/whale-songs

Orca http://macaulaylibrary.org/audio/120598

Diagram of Whale Hearing Mechanism http://scienceblogs.com/retrospectacle/2007/02/what_does_a_whales_ear_ look_li.php

UBEATS Module 4/5 (46) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 9: How do animals communicate in the wild?

Introduction: Animals use vocalizations and ‘songs’ to communicate with their species and other species within an ecosystem. Just like students in the classroom, animals need Learning Outcomes: The learner will leaders to guide and mold their behaviors for success in the wild. analyze the patterns of repetition and variety Like humans, many animals rely on the norms of their social in the vocalizations and sounds of wolves, units and take behavioral cues from the leaders of these units. whales, and birds. Learners will identify the For example, wolf packs follow the social cues of the alpha male basic patterns of call-and-response in the or dominant male wolf. Throughout this lesson, students will wild. Learners will further their knowledge of listen to different types of wolf calls and vocalizations in order to musical elements by analyzing pitch, duration, understand group dynamics for survival. dynamics, and timbre in animal calls. Learners will also explain the effects of distance and environment on these elements.

Science Process Skills: Aural Observation, Engage Explore Explain Elaborate Evaluate Communication E Time: Forty-five minutes 5 Engage: Play recordings of Humpback Whale Materials: Science journals, pencils, songs for the students. Use sounds classroom percussion instruments, sources listed in Life Science 8. Have supplemental CD, contour map samples students listen for patterns in the songs. Technology Resources: Computers/ Ask students to trace shapes in the air to show high speakers and low pitches. Students may also experiment with moving the way a whale moves; this will help students to explore whale communication and sounds while considering body mass and environment. Curriculum Alignment:

National Science Education Standards Explore: Play the whale songs for the students K-4 Content Standard C: Life Science again. Have students create contour • The characteristics of organisms maps to show the variety of sound • Organisms and their environments patterns they hear (see example of 5-8 Content Standard C: Life Science contour maps in Life Science 5). In their journals, instruct students • Structure and function in living systems to answer the following questions: • Regulation and behavior 1. Did you hear/see any patterns in the contour lines? • Populations and ecosystems 2. Describe the elements that are repeated in your contour map • Diversity and adaptations of organisms using musical terms pitch, rhythm, dynamics, timbre, etc. 3. What might these vocalizations be communicating? (In National Music Standards particular, whales often use vocalized sound patterns to communicate with group members and family members. Goal 1: Singing, alone and with others Students may need some guidance in considering the use Goal 3: Improvising, within specific guidelines of whale songs as a biological function – encourage students Goal 6: Listening to, analyzing, and to consider the reasons why these songs are critical to a describing music whale’s survival (e.g., communal migration, location of Goal 7: Evaluating music and music individuals, organized group fishing, attracting a mate, performances announcing territory, etc.) Goal 8: Understanding music in relation to disciplines outside the arts

UBEATS Module 4/5 (47) https://sites.google.com/a/uncg.edu/ubeats/home Explain: Organize students into groups or pods and have them compare their contour maps. Students should record any trends they find in their journals or on a graphic organizer. Explain to students that communication in the wild is necessary for survival, and that family or social units communicate in many different ways. Ask students to share their thoughts from their journals as to what individuals might be communicating in these songs or vocalizations. While they listen to the whale songs again, students should follow along with their maps and vocalize with the whales, reading their contours like a sound map or a musical score.

Elaborate: 1. Play recordings of wolf pack sounds (See URLs in the Resource section of this lesson). Challenge students to keep track of how many wolves are howling at any given second. Ask students if they hear sections where the number of wolf voices changes. 2. Play the wolf pack recordings again. This time ask students imitate a wolf howl along with the pack. Students should follow the cues of the pack, and respond to the call of the dominant male. Remind students that call and response is different from an echo – in an echo, the animal would make the same sound as the leader. In call and response, the leader creates an initial call or sound and the followers respond differently. 3. Distribute small classroom percussion instruments to the students. Let students take turns being ‘pack leader’ and all the other students will be the pack. The student ‘leader’ should improvise a short call with an instrument to which the others – the ‘pack’ - respond with a call on their instruments that is the same (echo) and then something different (call-and-response). Have students describe the timbre of their individual instruments and the texture of the sound of the pack.

Evaluate: Ask students to create an original call-and-response song for their classmates to perform. Have students describe the song’s texture, pitch, amplitude, and other musical features in their journals.

UBEATS Module 4/5 (48) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 9: resources

Vocabulary Call and Response: A type of musical form in which a leader sings a phrase and a group of people sing a response.

Echo: The repetition of an exact sound or vocalization.

Websites Recordings of Whale Songs http://www.oceanmammalinst.com/songs.html

Sounds of Wolf Pack Calls Demonstrating Call-and-Response http://www.wolfcountry.net/WolfSounds.html

Longer Clip of Wolf Pack Vocal Interaction http://www.everythingwolf.com/sitewide/audiolib/WOLF-000-7.mp3

UBEATS Module 4/5 (49) https://sites.google.com/a/uncg.edu/ubeats/home UBEATS Module 4/5 (50) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 10: What are the reasons animals use sounds?

Learning Outcomes: The learner will identify Introduction: An animal uses sound to warn others to stay examples of body language and verbal calls that out of its territory and also to attract a mate. These short, simple crows use and the reasons for these types of vocalizations are ‘calls.’ In this lesson, we will explore the reasons communication. crows use sounds to communicate. Crows are highly intelligent Science Process Skills: Observation, birds that have a complex communication system. They make at Communication least twenty-five different sounds that include growling, squawking, squealing, cooing, and rattling. They use these different calls to Time: One hour identify themselves and communicate with other birds. They also Materials: Crows! Strange and Wonderful, by have an emergency call to alert other crows come quickly to help. Laurence P. Pringle A group of crows is called a murder.

Technology Resources: Computer with internet access

Curriculum Alignment: Engage Explore Explain Elaborate Evaluate National Science Education Standards 5E Content Standard A: Abilities necessary to do Engage: scientific inquiry Listen to recorded sounds of crows • Understanding about scientific inquiry. communicating (http://www.shades-of- • Employ simple equipment and tools to night.com/aviary/sounds/crowcall.wav). gather data and extend the senses Discuss what the students think the crows Content Standard C: Life Science might be communicating to each other. Ask students to keep track • The characteristics of organisms of how many different patterns or sounds the crows make. Students • Organisms and their environments should use musical terms to identify different sounds, such as pitch, Content Standard F: Science in Personal and dynamics, contour, rhythm, melody, etc. Social Perspectives • Characteristics and changes in populations • Changes in environments Explore: • Science and technology in local challenges 1. Look at some video clips of crows (http://www.youtube.com/watch?v= Content Standard G: History and Nature of Science 8gXsruj6UI0&feature=related or • Science as a human endeavor http://www.youtube.com/watch? v=SE-cIwtkeSU) National Music Standards 2. Ask students how they move. (The crows walk unlike other Goal 1: The learner will sing, alone and with birds that hop.) others, a varied repertoire of music 3. Give each group a scenario from below. Have them read from Goal 6: The learner will listen to, analyze, and the book Crows! Strange and Wonderful, by Laurence P. Pringle. describe music Have students choose a scenario to act out showing Goal 8: The learner will understand relationships characteristics of crow behaviors that focus on body and verbal between music, the other arts, and content language in the activity. areas outside the arts continued Goal 9: The learner will understand relationships between music, history, and culture

UBEATS Module 4/5 (51) https://sites.google.com/a/uncg.edu/ubeats/home Scenario 1: Nest building (cooperative task where many crows help out) Scenario 2: Playfulness (playing tug of war, catch) Scenario 3: Using warning calls to tell something to stay away Scenario 4: Assembly calls (urging others to come quickly and help) Scenario 5: Being mobbed by other birds (crows hunt in little birds’ nests and eat the eggs) Scenario 6: Crows eating (e.g., mice, berries, grasshoppers, humans’ food, dead animals) Scenario 7: Cleverness (e.g., pulling fishing line out of ice fishing hole and eating bait or caught fish) Scenario 8: Using tools like sticks to catch bugs; dropping things on ground to break (See Richard Attenborough’s Crows in the City at: http://www.youtube.com/ watch?v=BGPGknpq3e0&playnext=1&list=PL2781DABDEDAD6AF7)

Explain: After viewing all of the dramatizations, Read the book Crows! Strange and Wonderful, by Laurence P. Pringle in its entirety. Discuss how crows communicate very effectively with body language and sound. American Crows are highly vocal birds. Unlike most other songbirds, males and females have the same songs. They have a complex system of loud, harsh ‘caws’ that are often uttered in repetitive rhythmic series. Shorter and sharper ‘caws’ called ‘kos’ are probably alarm or alert calls. Slightly longer caws are probably used in territorial defense, and patterns of repetition may be matched in what may be considered ‘counter-singing,’ or exchanges between territorial neighbors. ‘Double caws,’ short caws repeated in stereotyped doublets, may serve as a call-to-arms vocalization, alerting family members to territorial intruders. Sometimes pairs or family members coordinate their calls in duets or choruses. Harsher calls are used while mobbing potential predators.

Ask students how they think ornithologists and biomusicologists determined the purposes of these various crow vocalizations. People are less familiar with the large variety of softer vocalizations crows can make. Melodic, highly variable coos accompanied by bowing postures are used among family members, possibly as greetings or other bonding signals. Coos of cage-mates become similar over time; this vocalization may therefore be the basis of the mimicry ability shown by pet crows. Crows also give several kinds of rattles. Young crows make gargling sounds that eventually turn into adult vocalizations. Yearling crows also ‘ramble’ or run through long sequences of different patterns and rhythms of cawing. Crows are also an extremely social clan. They work as a team to drive away predators. Their vocalizing team replicates the building of a chorus until time to attack.

A vocal ensemble of crows has similarities to the work songs of humans. A work song for humans is a piece of music closely connected to a specific form of work, either sung while conducting a task, often to coordinate timing of the group’s actions. Work songs are also considered communal songs linked to a synchronized task or trade which might be a connected narrative, description, or protest song. Work songs are believed to have originated with slaves. The slave masters encouraged the songs to increase productivity. Play examples of work songs (available at http://www.history. org/history/teaching/enewsletter/february03/worksongs.cfm).

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UBEATS Module 4/5 (52) https://sites.google.com/a/uncg.edu/ubeats/home Explain to students that the style of song they have been listening to is called call-and- response. Is this a good name for this style of music? Why? How is this different from an echo? Students should recognize that unlike an echo, the response provided in a call-and-response does not need to sound exactly like the call because the response is intended to serve as something different or a ‘consequence’ to the antecedent call.

Elaborate: 1. Play examples of work songs from various cultures for the students, such as “Pay Me My Money Down” or “Way Down Yonder in the Brickyard.” Ask students to journal to answer the following questions: a. Did you hear words, phrases, or musical ideas that repeated? b. Did you hear sections of music where the number of singers changed? How? c. Did you hear any patterns in the music? d. Have students compare the counter-singing of the crow to the musical form of call-and-response. Identify how the crow ‘calls’ to its territorial neighbors and its neighbors respond with a counter-song. 3. Play samples of whale or wolf pack recordings for the students. Lead a class discussion comparing the call-and-response musical form to animal communication patterns. How are they the same? How are they different? 4. Remind students that humans are animals too. Like other animals, humans are biologically programmed to recognize and remember patterns such as call-and- response and echoes. This connection allows us to also recognize the value of such communication and incorporate it into our music-making.

Evaluate: From www.wildmusic.org play students the recordings of the Veery and Swainson’s thrush songs. Have students create a response to the birds’ vocalizations. Students may choose to use their signature sound, or they may compose or improvise a response on instruments. Students should use the characteristics of call-and-response form to create their response.

Ask students to take turns performing their responses to the thrush songs. Students should determine the effectiveness of their call as a form of animal communication AND a musical composition. Does it communicate the intended message? Can it be recognized and easily repeated by animals of the same species? Students should journal their evaluative statements. Students can also discuss the natural world as a source of inspiration for the creative mind.

UBEATS Module 4/5 (53) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 10: resources

Vocabulary Call–and-Response: See vocabulary list in Life Science 9.

Chorus: An ensemble of singers.

Counter-singing: Exchanges between territorial neighbors based on matching patterns or repetition.

Duet: A musical composition, song or piece for two performers.

Form: A way of arranging and coordinating parts for a pleasing or effective result. In music or literature, compositions are organized by patterns that are based on repetition (same) or variation (different). For example ABA (same-different-same), AABA (same- same-different-same), and Call-and-Response is ABAB (same-different-same-different).

Melody: A series of musical pitches performed in succession, typically resulting in a memorable tune.

Solo: A musical composition, song, or piece for one performer.

Unison: Singing or playing the same patterns by all singers or players at the same time.

Work song: A rhythmic, unaccompanied (a cappella) song sung by a group while working on a physical and repetitive task to coordinate or synchronize the group activity.

Websites Crow Sounds http://www.shades-of-night.com/aviary/sounds/crowcall.wav

Video Clips of Crows http://www.youtube.com/watch?v=8gXsruj6UI0&feature=related http://www.youtube. com/watch?v=SE-cIwtkeSU

Richard Attenborough’s Crows in the City http://www.youtube.com/watch?v=BGPGknpq3e0&playnext=1&list= PL2781DABDEDAD6AF7

Wild Music Website www.wildmusic.org

Examples of Work Songs http://www.history.org/history/teaching/enewsletter/february03/worksongs.cfm

UBEATS Module 4/5 (54) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 11: How is human and dolphin communication similar?

Learning Outcomes: Learners will find Introduction: Dolphins and humans share many several similarities between the way humans characteristics. Dolphins use sounds and body language to and dolphins use sound to communicate, and communicate and express similar interactions that occur in human learners will express those similarities in a parent/child relationships. Venn diagram.

Science Process Skills: Classification, Observation

Time: One hour Engage Explore Explain Elaborate Evaluate Materials: Dolphin Talk: Whistles, Clicks, E and Clapping Jaws, by Wendy Pfeffer; 5 Engage: balloons, whistles, straws, kazoo, pan pipe, Tell students that you can whistle your a pail of water, pitch pipe. own name and then whistle out the number of syllables that you have in Technology Resources: Computers with your own name putting the accent on the internet access correct syllable. For example ‘Beverly’ would have three syllables with emphasis on the first one: Be-ver- ly. Have the students work with a partner to come up with a way to represent their name using whistles and clicks. Share ‘dolphin talk’ names. Curriculum Alignment: Explore: National Science Education Standards 1. Read Dolphin Talk: Whistles, Clicks Content Standard A: Abilities necessary to do and Clapping Jaws, by Wendy Pfeffer, scientific inquiry to the students. • Understanding about scientific inquiry 2. Make a list of all the ways dolphins • Employ simple equipment and tools to communicate and the sounds they gather data and extend the senses make. The list should include clicks, whistles, squeaks, chirps, Content Standard B: Physical Science releasing bubbles, movement-nodding, popping noises, • Sound is produced by vibrating objects, the clapping jaws, slapping tails, hit water with entire body, soft, pitch of the sound can be varied by gentle sounds when showing affection, rattle, burp, moan changing the rate of vibration and groan. Dolphins also swim in synchrony with each other. Content Standard C: Life Science By aligning body movements to move rhythmically with another • The characteristics of organisms individual, i.e. synchrony, the participants show that they have • Organisms and their environments affinity with another. Do humans do this too?

Content Standard E: Science and Technology Explain: • Abilities of technological design Use a graphic organizer to compare the • Understanding about science and way dolphins and humans communicate. technology • Abilities to distinguish between natural Have students explain what some of objects and objects made by humans these noises might sound like. Explain that dolphins lack vocal Content Standard F: Science in Personal and chords but produce sounds from six air sacs near the blow hole. Social Perspectives Each animal has a unique signature vocalization. • Characteristics and changes in populations continued continued next page

UBEATS Module 4/5 (55) https://sites.google.com/a/uncg.edu/ubeats/home • Changes in environments 1. Give students a variety of materials including balloons, whistles, • Science and technology in local challenges straws, kazoo, pan pipes and a pail of water to allow them to Content Standard G: History and Nature experiment making dolphin sounds. The teacher may demonstrate of Science a dolphin’s sound using a pitch pipe. The teacher may demonstrate • Science as a human endeavor synchrony with some of the children. 2. Have the students do a short presentation to the class of the sounds National Music Standards and the synchronous movements they created. Have them

Goal 4: Composing and arranging music demonstrate what the dolphin noises and movements are and act within specified guidelines out with a partner what they mean. See if the rest of the class can Goal 8: Understanding relationships guess what the dolphins are communicating. between music, the other arts, and 3. Re-read Dolphin talk: Whistles, Clicks and Clapping Jaws. Allow disciplines outside the arts students to add their dolphin interpretations to accompany the dramatization of the story

Elaborate: 1. Have students complete an online ‘WebQuest’ to investigate dolphins (http://42explore.com/whale.htm). The WebQuest provides students with a variety of activities to complete and various methods for presenting the information that they learn. 2. Explore commonalities of dolphins and humans who are visually impaired. Since it is often difficult to see at distance in the ocean, dolphins rely on sound communication. Visually impaired humans use sounds to locate things such as the chirping of traffic walking signals. They use sounds to collect sensory data that they are missing from visual stimuli.

Extend: Watch videos of dolphins swimming in synchrony (http://www.youtube. com/watch?v=BlvvaP8TbB0&feature=related). Ask the students to name times when humans move in synchrony with each other (e.g., marching, participating in ‘the wave’ at sporting events, walking in groups, etc.).

Evaluate: 1. Ask students to create a graphic organizer comparing dolphins and humans. For example, students may opt to create a Venn Diagram or Double Bubble Map with similarities placed in the overlap or middle and differences in the outside regions. 2. Ask students to present their findings from one of the six ‘Be an Explorer’ activities on the Whale and Dolphin Webquest, completed during the Elaborate section of the lesson. What assignment did the student(s) choose to complete? What compelling information did they learn from the assignment? Depending on the assignment selected, students may engage in a debate, create an informational poster, or use Kidspiration to compare and contrast the two types of animals. 3. Using found objects and classroom musical instruments, allow students to create their own ‘symphony’ of dolphin sounds found in the informational book. Ask students to explain what each instrument represents and to perform their piece for the class or another class.

UBEATS Module 4/5 (56) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 11: resources

Vocabulary Echolocation: See vocabulary list in Physical Science 3.

Synchrony: Two or more entities moving together in a simultaneous way.

Websites WebQuest site for Dolphins and Whales http://42explore.com/whale.htm

Video of Dolphins Swimming in Synchrony http://www.youtube.com/watch?v=BlvvaP8TbB0&feature=related

UBEATS Module 4/5 (57) https://sites.google.com/a/uncg.edu/ubeats/home UBEATS Module 4/5 (58) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 11A : How Do Animal sounds influence human music making? Alternative based on lessons: 8-11

Learning Outcomes: The learner will discover similarities between human music Introduction: Although we do not label animal vocalizations and animal ‘songs.’ Learners will explain the and sounds as music, there is no denying that we hear musical organizational aspects of music and animal elements in the wild and that the natural world greatly influences ‘songs.’ Learners will demonstrate behaviors our music and the arts. As we have seen, animal sounds contain that indicate active listening. Learners will many properties that are common in music: pattern, pitch, contour, have an understanding of universal music dynamics, timbre, etc. In this lesson, students will analyze animal concepts from engaging with multicultural ‘songs’ with special attention to the form of animal sounds. Students music. will use the sounds of wolves, whales, and birds to analyze the ways in which human music and animal sounds are the same. Science Process Skills: Aural Observation, Communication

Time: Forty-five minutes

Materials: Science journals, pencils, samples of world music using call-and- response, hand drums/variety of classroom Engage Explore Explain Elaborate Evaluate instruments, supplemental CD 5E Technology Resources: Computers/ speakers with internet access Engage: Begin the lesson by singing a familiar song, such as “Old MacDonald” or “Twinkle Twinkle Little Star.” Lead a Curriculum Alignment: class discussion about repetition (same) and variation (different) in music. What musical sounds or sections National Science Education Standards repeated? How were other sections different? From this discussion K-4 Content Standard C: Life Science students must have a firm understanding of the following: • The characteristics of organisms 1. Musical ideas repeat so that listeners can become familiar with • Organisms and their environments important musical materials, such as patterns, words, etc. 2. Musical ideas must vary to develop rich quality to tones and 5-8 Content Standard C: Life Science patterns. Variety is what grabs listeners and keeps them • Structure and function in living systems interested in what is coming next. • Regulation and behavior • Populations and ecosystems • Diversity and adaptations of organisms Explore: Play for the students examples of call- National Music Standards and-response patterns from various Goal 1: Singing, alone and with others sources (see links next page). Using Goal 2: Playing instruments, alone and with examples from a number of sources will others require that students listen to the musical ideas as opposed to the Goal 6: Listening to, analyzing, and words in order to understand what the music is communicating. describing music continued

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UBEATS Module 4/5 (59) https://sites.google.com/a/uncg.edu/ubeats/home Goal 7: Evaluating music and music Call and Response Links: performances http://www.bbc.co.uk/schools/gcsebitesize/music/world_music/ Goal 8: Understanding music in relation to music_africa5.shtml disciplines outside the arts http://www.youtube.com/watch?v=dPmEq_M1ZQQ&feature=related Goal 9: Understanding music in relation to http://www.youtube.com/watch?v=fjv0MYIFYsg history and culture Instruct students to journal to answer the following questions: 1. Did you hear words, phrases, or musical ideas that repeated? 2. Did you hear sections of music where the number of musicians changed? How? 3. Did you hear any patterns in the music?

Explain: Explain to students that they have been listening to a called call-and-response pattern. Is this a good name for this style of music? Why? How is this different from an echo? Students should recognize that unlike an echo, the response provided in a call-and-response does not sound exactly like the call because the response serves as a consequence call. Call-and-Response patterns are also used in speaking such as cheerleading and in audience responses to a speaker (religious practices, pep talks). Play the whale and wolf pack recordings for the students (see links above). Lead a class discussion comparing the call- and-response musical form to animal communication patterns. How are they the same? How are they different? Remind students that humans are animals too. Like other animals, humans are biologically programmed to recognize patterns such as call and response and echoes. This connection allows us to also recognize the value of this kind of communication pattern and incorporate it into our music-making.

Elaborate: 1. Lead the class in singing a simple call-and-response song, such as “Day-O!” (The Banana Boat Work Song). Ask students: a. Which words are sung in the response? Do these words change or stay the same? b. Does the melody in the response change or stay the same? 2. From www.wildmusic.org play students the recordings of the Veery and Swainson’s thrush songs. Have students create a response to the bird’s ‘call.’ Students may choose to use their signature sound, or they may compose or improvise a response on instruments. Students should use the characteristics of call-and-response form to create their response.

Evaluate: Ask students to take turns performing their responses to the thrush songs. Students should determine the effectiveness of their call as a form of animal communication AND a musical composition. Does it communicate the intended message? Can it be recognized and easily repeated by animals of the same species? Students should journal their evaluative statements. Students can also discuss the natural world as a source of inspiration for the creative mind.

UBEATS Module 4/5 (60) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 11A : resources

Vocabulary Call and Response: See vocabulary list in Life Science 9.

Form: See vocabulary list in Life Science 10.

Melody: See vocabulary list in Life Science 10.

Websites Call and Response Links: http://www.bbc.co.uk/schools/gcsebitesize/music/world_music/music_africa5.shtml http://www.youtube.com/watch?v=dPmEq_M1ZQQ&feature=related http://www.youtube.com/watch?v=fjv0MYIFYsg

Wild Music Site with Thrush Songs to Create Call-and-Response Songs http://www.wildmusic.org/animals

UBEATS Module 4/5 (61) https://sites.google.com/a/uncg.edu/ubeats/home UBEATS Module 4/5 (62) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 12: can we create a critter choir?

Learning Outcomes: The learner will understand how each animal sound Introduction: Students will create a Critter Choir using their occupies a specific frequency and ‘airspace’ signature sounds, classroom instruments, and audio samples within an ecosystem. Learners will further of varying ecosystems. Students will create a visual sound map their understanding of musical elements representing the variety of sounds in specific ecosystems. by creating a musical ‘score’/sound map using non-traditional notation. Learners will more fully understand spectrograms and how they represent sounds in nature. Using their listening maps and a variety of sound Engage Explore Explain Elaborate Evaluate sources, students will give a performance E that appropriately and accurately 5 Engage: represents their assigned ecosystem. Invite the class to create a list of the Science Process Skills: Observation, animal sounds that they have heard in Classification, Communication, this module. Once a list is generated, Measurement help students divide the animals into groups by ecosystem. Think of other things in these ecosystems Time: Two one-hour sessions that create sound. Students’ lists should be expanded to include Materials: Science journals, pencils, animals that have not been heard, as well as sounds that are only display boards, poster board, colored related to the earth (geophonies) and that represent their specific pencils/markers, sample spectrograms ecosystem. A starter list is presented below: Forest: Owl, Woodpecker, Wolves Technology Resources: Computers/ Ocean: Dolphin, Whale speakers with internet access Rain Forest: Borneo Tree Frog, Jaguar, Howler Monkey Wetlands: Chorus Frog, Kingfisher

Explore: Curriculum Alignment: 1. Allow students to access the website http://www.musicofnature.org/home/ National Science Education Standards category/soundscapes/. This site K-4 Content Standard C: Life Science provides samples of six different • The characteristics of organisms ecosystems. • Organisms and their environments 2. Organize students into groups with each group representing an 5-8 Content Standard C: Life Science ecosystem. This can be done by allowing students the choice of • Structure and function in living systems ecosystem or by assigning students equally among the groups. • Regulation and behavior 3. Ask the students to listen to their assigned ecosystem and have • Populations and ecosystems them write down any sounds they hear in their science journals. • Diversity and adaptations of organisms Allow students to listen to their ecosystem several times, as each hearing may lead to more interesting sounds.

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UBEATS Module 4/5 (63) https://sites.google.com/a/uncg.edu/ubeats/home National Music Standards

Goal 1: Singing, alone and with others Explain: Goal 2: Playing instruments, alone and Show students spectrograms representing with others different ecosystems. Explain to students Goal 3: Improvising, within specific that the x axis of these graphs represents guidelines the passing of time and the y axis represents Goal 5: Reading and notating Music frequency. Lead a class discussion encouraging Goal 6: Listening to, analyzing, and students to analyze the different sounds using musical terminology to describing music describe what they see. Also ask students to mimic the sounds they Goal 7: Evaluating music and music see based on wave shape. Instruct students to journal to answer the performances following questions: Goal 8: Understanding music in relation 1. Are there sounds that occupy the same frequency? to disciplines outside the arts 2. Does this map show signs of animal adaptation? Explain your answer.

Elaborate: 1. Provide a variety of art supplies and a poster board for each group. Students should create a spectrogram representing all the sounds in their ecosystem. 2. Allow students to use the real spectrograms as a guide. Remind students to consider the pitch of these sounds, as this will help them find the proper ‘airspace’ on their maps. 3. Allow students within each group to choose a specific sound to recreate from their ecosystem.

Evaluate: 1. Provide the students with time to practice their soundscapes. Students will perform the soundscape of their ecosystem using their spectrograms/sound map/score as their guide. 2. Evaluate student ability to recreate the sounds of their ecosystem and the clarity of information in their ‘score.’

UBEATS Module 4/5 (64) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 12: resources

Vocabulary Frequency: The number of sound waves that occur in a given period of time.

Geophonies: Sounds from a particular ecosystem that are geographical in nature and not related to living organisms (e.g., wind, water, storms – thunder and lightning, raindrops, landslides, earthquakes, wave action).

Websites Samples of Six Different Ecosystems http://www.musicofnature.org/home/category/soundscapes/

UBEATS Module 4/5 (65) https://sites.google.com/a/uncg.edu/ubeats/home UBEATS Module 4/5 (66) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 13: What are some careers in biomusic?

Learning Outcomes: Through evaluating Introduction: There are many STEM (Science, Technology, information in books, interviews and on the Engineering and Math) careers emerging from the field of internet, learners will identify several career BioMusic. possibilities in the field of BioMusic research.

Science Process Skills: Communication

Time: This lesson can be a one-week project based assignment, or it can be divided into Engage Explore Explain Elaborate Evaluate sections to correspond with the lessons E being taught throughout the unit 5

Materials: Secrets of Sound: Studying the Engage: Calls and Songs of Whales, Elephants and Ask students what kinds of science or Birds by April Pulley Sayre music careers are there in the field of BioMusic? Record student responses Technology Resources: Computer with on a chart. internet access

Explore: 1. Read the book, Secrets of Sound: Curriculum Alignment: Studying the Calls and Songs of Whales, Elephants and Birds, by April Pulley National Science Education Standards Sayre. Discuss the different types of Content Standard A: Abilities necessary to do jobs that BioMusic scientists do. scientific inquiry 2. Ask students to identify whether their class list included the work • Understanding about scientific inquiry of the people in the book. What special skills do the three • Employ simple equipment and tools to featured professionals in the book have that allow them to be gather data and extend the senses successful in their work? Content Standard E: Science and Technology • Abilities of technological design • Understanding about science and Explain: technology BioMusicologists are scientists and • Abilities to distinguish between natural musician researchers who explore the objects and objects made by humans commonalities of musical sounds found in all species. BioMusic is a multidisciplinary Content Standard G: History and Nature of field – biology, animal communication, ethnomusicology, music Science theory, neuroscience, physics, bioacoustics, and evolutionary • Science as a human endeavor anthropology – that studies music’s biological and cognitive elements to explore its role in relationships and meaning-making National Music Standards in human and non-human cultures. BioMusic’s research focuses Goal 8: Understanding relationships between on auditory patterns, particularly sound organization such as pitch music, the other arts, and disciplines and frequency structures, time and mathematical relationships, and outside the arts cultural practices that express themselves throughout all human Goal 9: The learner will understand music in

relation to history and culture continued

UBEATS Module 4/5 (67) https://sites.google.com/a/uncg.edu/ubeats/home cultures and across species lines. New research confirms musicality in humans to be a genetic component. Current important hypotheses suggest music perception in human and non-human species indicates deep evolutionary roots and may point to music as a possible bioindicator and as a precursor to language.

Using the BioMusic website http://www.wildmusic.org/en/research, ask students investigate a BioMusic scientist and write a brief report on his or her career. Students should identify areas of research and, when applicable, describe any animals that were studied. Students should also discuss where the research is being conducted, how the scientist collects data, and the benefits and challenges to his or her career.

The biomusic researchers presented on the Wild Music website come from a wide variety of backgrounds, including the fields of ornithology, marine biology, and bioacoustics. Some work with non-human animal species, while others work with humans.

Neuroscientists, such as Tecumseh Fitch, study the way that the brain works. Fitch studies animal communication specifically and the vocal sounds of communication that different species of animals make.

Dr. Roger Payne is a marine biologist who studies whales. Trained at Harvard University and at Cornell University, Dr. Payne became famous for studying whale songs. He has recorded whales from across the world, and has written and produced movies about whales.

Ornithologists study birds, including their evolution, behavior, and ecology. Similar to Tecumseh Fitch, ornithologist Jack Bradbury also works in neuroscience and studies animal communication. In his work, he examines animal communication and mating patterns in animals. Another ornithologist, Steve Nowicki, also studies birds and how their body structure allows them to make different sounds.

Psychologists are also scientists, only they focus on a different topic, human thinking. Sandra Trehub studies listening skills of children and infants and their abilities to recognize sound patterns, an area of study through the sound patterns found in animal communications.

Don Hodges is a music researcher who also examines human brain activity. His interests lie in studying changes in the brain that result from engaging in musical activities. Similar to Don Hodges, Mark Tramo, a doctor, studies human hearing abilities and people’s feelings when engaging in music.

Patricia Gray, a musician and scientist, studies the music-making capacities and interactions in humans and other species, including elephants, dolphins, and Bonobo apes.

UBEATS Module 4/5 (68) https://sites.google.com/a/uncg.edu/ubeats/home Bernie Krause is a bioacoustician, or a scientist who records different environments around the world. With his help, the sounds of different species of animals, and the wide ranges of species within a given ecosystem, can be recorded and studied by scientists interested in animal behavior. Krause also records different cultural groups across the world, allowing researchers to listen to human communication and music making different from their own.

Jelle Atema, a biologist, studies how aquatic animals use all of their senses to move and communicate with one another, including sharks and lobsters. He is also interested in the music created by people across large spans of time, from the Neanderthals through present day groups of people.

What makes this group of scientists and musicians interesting is how their unique expertise works together to make sense of biomusic, or the study of ‘living music.’ Many of them have the expertise on how to record and capture the sounds created in nature, while others study the physiology of sound production, and still others investigate the reasons for sound production. In looking at both humans and other animal species, one can compare the similarities and differences in each when it comes to producing sound and reasons for creating sound.

Elaborate: Create a display board and present projects to class. 1. Once students use the Biomusic webpage to begin their research, allow them to find other websites, articles, and books that tie into their researcher’s career and interests. 2. Have students create a way to display their research to the class. Options might include posters, display boards, creating a children’s book, PowerPoint, or format selected by the teacher or student.

Evaluate: Rubric for project research and presentation.

UBEATS Module 4/5 (69) https://sites.google.com/a/uncg.edu/ubeats/home Life Science 13: resources

Vocabulary BioMusic: The study of the sounds and music of all living things.

Biomusicologist: A scientist/musician who studies the field of BioMusic.

Musician: A composer, conductor, or performer of music.

Scientist: A person who studies science, especially one who is active in a particular field of investigation.

Websites Wild Music Website www.wildmusic.org

UBEATS Module 4/5 (70) https://sites.google.com/a/uncg.edu/ubeats/home