UBEATS Mdocreate 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

UBEATS ModUlE 4/5 (1) https://sites.google.com/a/uncg.edu/ubeats/home

Grades 4-5CurriCulum module for elementary Grades 4-5

https://sites.google.com/a/uncg.edu/ubeats/home


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

Table of Contents



EngAgE:

Ask each student to cover the top of a plastic cup

with plastic wrap and attach with a rubber band.

Put some grains of rice on the plastic wrap. Ask

students to watch what happens to the rice when

they sing or play instruments directly next to the cup. Students should

have a variety of musical instruments to experiment with and they should

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

differences occur?

ExplorE:

1. Inform students that today they will be

reviewing the basic concepts of sound.

Students should remember that sound

travels in waves. The waves are what make

the rice vibrate on the plastic wrap and the plastic wrap represents the

eardrum. As sound waves cause the eardrums in humans and in animals

to vibrate, they are able to hear. For additional examples sound waves,

tap a tuning fork on the side of the desk and dip it in a bowl of water.

What do students see?

2. Have each student stretch a rubber band around a textbook and place

two pencils (far apart) under the rubber band. They will then take turns

plucking the rubber band. Allow students to listen both to the pitch of

the sound and to watch the rubber band vibrate. Afterwards, ask

students to predict what will happen if they move the pencils closer

together and pluck the rubber band. Ask students to write their

prediction in their science journals. They should then try plucking the

band after moving the pencils closer together. Students should discover

that as the distance between the pencils becomes shorter, the pitch

becomes higher. They can write the actual results in their science journals.

Physical Science 1: HoW ArE SoUndS CrEATEd?

InTrodUCTIon: Animals use specific sounds and calls to communicate

with one another in a wide variety of environments. Over years of

evolution, animals have had to adapt to their changing habitats.

Specifically, animals have adapted their animal calls to fit the habitat in

which they live. Animals can also use ‘tools’ from the natural world to

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

Process Skills) through the use of classroom instruments (see Module

Overview and Preliminary Information).

lEArnIng oUTCoMES: The learner will

understand basic concepts of sounds

including sound waves, pitch, timbre,

and dynamics (see Concepts and Science

Process Skills), and will connect these

concepts to discussions of force.

SCIEnCE proCESS SkIllS: Observation,

Inference

TIME: One hour

MATErIAlS: Science journals, pencils (two

per student), plastic cups (one per student),

dry rice, plastic wrap (one roll), rubber

bands of a variety of widths and thicknesses

(several per student), tuning forks, shal-

low dish with water, textbooks (one per

student), shoe boxes (one per student). A

variety of percussion and wind instruments

(see Module Overview and Preliminary

Information). A guitar or other stringed mu-

sical instrument (see Module Overview and

Preliminary Information) is recommended.

CurriCulum aliGnment:

National Science Standards

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.

Content Standard B: Physical Science

• Properties of objects and materials

National Music Standards

Goal 1: Singing, alone and with others

Goal 2: Playing instruments, alone and

with others

Goal 3: Improvising, within specific

guidelines

Goal 6: Listening to, analyzing, and

describing music

Goal 8: Understanding relationships

between music, the other arts, and

disciplines outside the arts

5E EngAgE ExplorE ExplAIn ElABorATE EvAlUATE



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.

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.

High Pitch Low Pitch



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.





EngAgE:

Ask students if they think that sound would

travel better in solids, liquids, or gases. Have

them discuss examples of when they have heard

sounds through the different mediums (e.g., air,

bathtub or swimming pool, ear to a wall, etc.).

Have students demonstrate the three different states of matter and how a

vibration would go through them. Divide students into three groups and

quickly model the vibration traveling through the different states of matter.

The gas-group-students should stand two to three yards apart, making

it difficult for the transfer of vibrations; liquid-group-students should

stand one to two yards apart, vibrations are passed along better; solid-

group-students should be packed shoulder to shoulder to represent the

close proximity of atoms that allow vibrations to transfer through all the

molecules.

lEArnIng oUTCoMES: The students

will identify various mediums through

which sounds can travel and classify

them from slowest to fastest. The

students will identify or name animals

that communicate with sound in different

mediums.

SCIEnCE proCESS SkIllS: Classification,

Inference

TIME: Two hours (can be delivered over

several class sessions)

MATErIAlS: Glass jars (one per set of

partners), spoons (one per student), water,

RavenLite™ (see Module Overview and

Preliminary Information)


National Science Education Standards

Content Standard A: Abilities necessary to

do scientific inquiry



gather data and extend the senses


• Position and motion of objects

• Sound is produced by vibrating objects,

the pitch of the sound can be varied by

changing the rate of vibration

Content Standard C: Life Science

• The characteristics of organisms

• 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


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

mediums by transmitting vibrational energy. The molecules in solids are

packed very tightly. Liquids are not packed as tightly and gases are very

loosely packed. This difference in density enables sound to travel much

faster through solids than through gases. Sound travels about four times

faster and farther through water than it does through air. This is why

whales can communicate over long distances in the oceans. Sound waves

travel about thirteen times faster through wood than through air. They

also travel faster on hotter days as the molecules bump into each other

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.

Speed of sound in granite – 6000 m/s.)

continued next page

SolId lIqUId gAS

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


http://www.ilpi.com/msds/ref/vapor.html


ExplorE:

1. Have students test how sound travels through

solids. Have students work in pairs at their seats.

Student 1 should tap lightly (producing energy) on

his/her desk while student 2 records what he/she

hears as the vibrations travel through the air (gas). Then, Student 1 should tap

lightly (producing energy) again while Student 2 lays his/her ear on the desk

as the vibrations travels through the solid. The students should repeat the

procedure, trading duties and comparing sounds. Try the activity several more

times tapping louder (producing increased energy) and record the results.

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.

ACTIvITy SoUnd oBSErvATIonS

Light taps through air (gas)

Light taps through table (solid)

Heavy taps through air (gas)

Heavy taps through table (solid)

Content Standard F: Science in Personal

and Social Perspectives

• Characteristics and changes in

populations

• Changes in environments

• Science and technology in local

challenges

Content Standard G: History and Nature

of Science

• Science as a human endeavor







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.

http://www.whalesong.net./index.php/humpback-faq

http://www.whalesong

http://oceanexplorer.noaa.gov/explorations/



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


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






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


Information on Whale Songs


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://vodpod.com/watch/585869-deaf-percussionist-evelyn-glennie-and-linda-bove-

on-sesame-street





http://www.whalesong.net./index.php/the-whalesong-project/sounds/whale-songs

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

http://www.birds.cornell.edu/brp/raven/RavenOverview.html


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








lEArnIng oUTCoMES: In the following

activity, students will match aural

observations of animal calls to visual

representations of sound. Students will

explore the physical science concepts of

frequency and amplitude as they learn

about various species’ sounds and their

uses of sounds for survival.


Classification, Measurement, Inference

TIME: Two one-hour sessions

MATErIAlS: Sets of six animal pictures;

recordings of each animal’s song or call;

sets of spectrograms of the same six

animals’ calls or songs; large display

photo of each animal from the set (for

teacher), to be mounted on 9” x 12”

construction paper; introductory animals’

photos and matching spectrograms.

[NOTE: See Advanced Preparation section

for more explicit instructions.]

TECHnology rESoUrCES: Raven Lite™,

Handheld digital recorders (optional)



Content Standard A:

Abilities necessary to do scientific inquiry

• Understanding about scientific inquiry




• Properties of objects and materials



describing music




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

bursts of high and low pressure. Sounds travel through solids, liquids, and

gases and in all directions. Sounds can be visualized using computer-generated

pictures so we can see representations of what we hear. These pictures are called

spectrograms (or sonograms). Spectrograms represent the bursts of high and

low pressure with amplitude and frequency on the y-axis and time on the x-axis.

Raven Lite™ is an interactive sound analysis freeware program. Using Raven

Lite™, the teacher and students can listen to sounds and can view corresponding

sample spectrograms as well as upload or record their own sounds to connect

to the visual representations (see below). As students observe the visualization

of the sounds, two graphs are formed. The top area of the graph is the waveform

and the spectrogram is the

bottom picture. The height of the

waveform represents the amplitude

or loudness of the sound. The

spectrogram also indicates the

loudness by the intensity of

the color, and its frequency is

represented by how high the

sounds appear on the graph.

AdvAnCEd prEpArATIon:

Begin by downloading Raven

Lite™ so that you have access to

spectrograms of various animals.

Under the folder entitled ‘Open

Sound Files,’ select six different

animal recordings to display as

spectrograms – for example, the

African Forest Elephant, Bearded

Seal, Canyon Wren, Evening

Grosbeak, Spotted Hyena, and the

Nuthatch. Print copies of these

spectrograms for students to

view (one set per group of four

students). Teachers should then

choose photographs of the selected

animals, using Google Images

or other websites, and print out copies of the photos to correspond with each

spectrogram. Mount the animal’s picture and the matching spectrogram on the

same color of construction paper for instant group assessment (see above). Print

an additional set of the photos and spectrograms for each animal for the teacher

to display when introducing sounds to the class and during assessment. In

addition, print examples of Scrubjay, Screech Owl, and Canyon Wren photos and

matching spectrograms for the Engage part of the lesson. These spectrograms

can also be found within Raven Lite™.



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.

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.)

continued


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.



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]

continued



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


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.

http://www.wildmusic.org





EngAgE :

Organize students into five groups. Ask each

group to answer one of the following questions

in a ‘Table Talk’ for two to three minutes. Have

the members of each group then share their

question and thoughts with the class.

1. What is music?

2. Is music a part of science?

3. Is music human?

4. How is music a part of communication?

5. Are there patterns in music?

The teacher should write these ideas down for the class reflection in

later lessons.

lEArnIng oUTCoMES: Learners will

identify their interpretations of what music is

and be able to explain those interpretations

to their peers. Learners will recognize the

use of music by humans as a use of patterns

to convey messages to one another, and

make connections between human music

and the use of sounds in the natural world.

SCIEnCE proCESS SkIllS: Auditory

Observation, Classification, Communication

TIME: Two 45-minute sessions

MATErIAlS: Science journals, pencils



K-8 Content Standard A: Abilities necessary

to do scientific inquiry




K-4 Content Standard C: Life Science



5-8 Content Standard C: Life Science

• Regulation and behavior

• Diversity and adaptations of organisms



describing music

Goal 7: Evaluating music and music

performances




Goal 9: Understanding music in relation to

history and culture

5E

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

dangers, find a mate, establish territories, or locate and identify

community members. (For example, a child might call out for his mother

in a crowded space to locate her.) Scientists recognize that people often

interpret other animal sounds as musical because our brains recognize

patterns and structures that are used in human music-making and

because those sounds are often aesthetically pleasing. We humans use

animal sounds to create musical expressions and use animal sounds as a

source of inspiration for music-making.

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-

making in the natural world. One of the critical elements to all animal

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

are performed using musical tools (instruments) or by using the body

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

of sounds and their spoken rhythm and pitch. Recognizing patterns in

animal communication helps all critters recognize ‘who is who’ in their

environments and helps them organize the communication in order to

participate. Patterns are at the heart of music and all communication.

EngAgE ExplorE ExplAIn ElABorATE EvAlUATE

Life Science 1: HoW do AnIMAl SoUndS rElATE To HUMAn MUSIC MAkIng?



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 hearing such sounds would probably know to ‘stay clear’ of the animal, the

precise meaning of a dog’s growl or a cat’s hiss is not necessarily understood. Human

examples of vocalizations might include screaming or crying. Animal songs, the

second set of sounds, do have repetition and patterns, but are still not understood

precisely by humans. These include samples such as the Kingfisher, the

Humpback Whale, and the Chickadee.

The third type of sound, human music making, contains both patterns and

repetition, but also ties in human emotion and culture. Human music is the

only type of music for which people are able to understand the message

behind the song. This includes examples such as the Banana Boat Song

and the Peer Gynt Suite.

Sou

nd H

iera

rchy

Cha

rt

continued

voCAlIzATIonS

• No identifiable pattern/beat

AnIMAl SongS

• Have repetition

• Have patterns and beats

• Cannot be understood by humans

HUMAn

MUSIC-

MAkIng

• Has repetition

• Has patterns and beats

• Includes culture/emotion

• Can be understood by humans

http://www.youtube.com/watch?v=iMTNT_BzkdA&feature=related


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

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

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

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


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


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



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)

http://www.youtube.com/watch?v=3c5cSRaCN9s

http://www.youtube.com/watch?v=dhHQAqtWyJg&feature=fvst

http://www.youtube.com/watch?v=iZqDonJ60fI

http://www.youtube.com/watch?v=r3JQF2NSlB0



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


kingfisher


Humpback Whale


peer gynt Suite


Tree Frog ranges


Chickadee Sample


loon Sample


ludwig van Beethoven, Symphony no.6, op 68 - 3rd Movement


Antonio vivaldi, “Spring” from The Fours Seasons


paul Winter, “lullaby from the great Mother Whale for the Baby Seal pups”


paul Winter, “Wolf Eyes”


Life Science 1: rESoUrCES















be able to identify a variety of sounds in

the environment, discuss the sounds using

appropriate terminology, and identify

whether sounds are man-made or products

of the natural world.


Prediction

TIME: One hour

MATErIAlS: Science journals, paper,

soundscape recordings

TECHnology rESoUrCES: Computer with

speakers and recording software such as

Raven Lite™ and digital recording devices

with playback ability such as iPhone, iPad,

or a digital recorder such as Zoom H2. Data

projector (optional)



K-8 Content Standard A:

Abilities necessary to do scientific inquiry












describing music




5E

InTrodUCTIon: Sound is created by objects that vibrate, which

produce sound waves. These waves travel through a medium and

are received by our ears, which, along with our brains, process

the information into sound and create meaning.

A soundscape (see Concepts and Science Process Skills)

is the combination of sounds that arise from an immersive

environment. The teacher should visit the Soundscapes section

of the Wild Music website (www.wildmusic.org) before beginning

this lesson. In the Build a Soundscape area, the teacher can

create soundscapes from a small variety of options. Because this

lesson asks you to create some of your own soundscapes and

asks students to predict what sounds they would expect to hear

in particular environment before you play it aloud, you will need

to decide if you want to use Wild Music to create soundscapes or

if you want to record your own soundscapes.


Life Science 2: WHErE IS SoUnd In oUr EnvIronMEnT?

EngAgE:

Ask students what types of sounds they

would expect to hear outside. Lead a

Think-Pair-Share activity in which students

generate lists of sounds they might expect

to hear. First the student should think on his/her own, then share

ideas with a partner, and then share ideas as a class.

ExplorE:

1. The students will take a sound walk

around the outside of the school to

aurally observe their environment.

2. They will silently pause at several

locations and close their eyes to concentrate on listening

and processing what they hear. The teacher should allow time

for students to stop and record their observations in their

science notebooks.

3. The teacher should carry a digital recording device to record the

sounds encountered on the walk.




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?



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.



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.


Sound: A particular auditory impression.

Soundscape: The combination of sounds that arises from an immersive

environment.

Life Science 2 rESoUrCES



EngAgE:

Inform students that they will be going

outside to identify sounds in their

environment. Remind students that an

important part of scientific studies is to

write down predictions that a scientist might propose in a given

situation. Give students a few minutes to record in their science

journals sounds that they think they will hear so that as scientists

they will be able to look back on their work and see if their thinking

changes. Students may opt to write their predictions or draw a

visual representation in their journals. Ask students to share their

thoughts and compile a class list of the sounds they hear.

ExplorE:

1. Prior to exploring, it is essential for

the teacher to explain to the students

the importance of listening and not

speaking during this activity, as

listening allows the students to hear new sounds. Take students

to a quiet area on the school grounds, bringing their pencils,

journals, and blindfolds.

2. In an outside space ask the students to spread out and sit down.

Have students put on their blindfolds and listen for different

sounds. After a few minutes, have students write down the

sounds that they heard in their journals.

lEArnIng oUTCoMES: Learners recognize

the wide variety of both naturally and

man-made occurring sounds in their

environment. By using a blindfold the

learners will also recognize how important

a human’s hearing is for understanding

the world. They will begin to use their ears

and hearing with a new and enhanced

awareness.

SCIEnCE proCESS SkIllS: Auditory

Observation, Prediction

TIME: One hour

MATErIAlS: Blindfolds (one per student),

science journals, pencils












• Structure and function in living systems


• Populations and ecosystems




describing music




5E

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

the large number and wide variety of sounds that inform us daily

about the environment. A blindfolded walk outdoors will allow

students to ‘open their ears’ to naturally occurring sounds that

might normally be overlooked by most people. Visually impaired

humans, as well as those who live close to the wild have keener

awareness of sonic information than do others, so this experience

provides typical students with a similar opportunity.


Life Science 3: ArE WE AWArE oF THE SoUndS AroUnd US?

continued



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?



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?



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.


Tempo: The speed of sounds.

Timbre: See vocabulary list in Physical Science 1.




InTrodUCTIon: Animals use specific sounds, calls, and songs to

communicate with one another in a wide variety of environments.

The type of sound an animal makes depends on its species and how

it uses its body and habitat to create sound. Over years of evolution,

animals have had to adapt to their changing habitats. Specifically,

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.,

objects and environmental characteristics) from their natural world

to ensure their calls are heard by like species. In this lesson we

will review some basic concepts of sound production and show

how animals utilize those same concepts in adapting their sonic

communication to their changing environments.

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

create a wide variety of sounds. Finally,

learners will understand how body type and

size affect sound production and some ways in

which animals manipulate acoustical aspects

to enhance their calls and sounds.


Inference, Prediction

TIME: One hour

MATErIAlS: Tuning forks for the class,

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,

Boomwhackers, etc. of varying size [Resources

for hand drums, bells, cymbals include local

music teachers and music organizations.]

TECHnology rESoUrCES: Raven Lite™



Content Standard A: Abilities necessary to do

scientific inquiry










EngAgE:

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.

What animal is making this sound? How? Ask students if they

think all animals make sounds in the same way.

2. Lead the class in singing a simple known song (e.g., “Twinkle,

Twinkle, Little Star,” or “Mary Had a Little Lamb”) on a neutral

syllable such as ‘Doo.’ Once the students are strong and

confident in their vocalizations, ask them to repeat the song while

touching the front of their necks with the fingers covering the

voice box. The teacher should model this behavior. Say: “Feel

your throat as you are singing this song. What do you feel while

you are singing? Does this remind you of any of the tools we

have used in previous lessons (e.g., tuning fork)?”

continued next page



ExplorE:

1. Inform students that they will investigate

different ways that sounds are made.

Provide students with a wide variety of

tools to use for experimentation, such as

those suggested below:

• Classroom instruments, such as a bass xylophone,

Glockenspiel, maracas, hand drums of varying sizes,

Boomwhackers

• ‘Found sound’ items such as paper bags to crumble, drinking

glasses with water, and sticks to break

• Bird whistles, duck calls

• Kitchen Percussion such as pots and pans, glasses filled with

water, and different types of spoons and containers.

2. Allow students time to explore the variety of sounds produced with

these materials. Ask students to consider the following questions

when experimenting:

a. Did the size of the instrument affect the sound?

b. Did the materials the instrument is made from affect the

sound?

c. How did your instrument produce sounds?

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






• Reproduction and heredity





Goal 4: Composing and arranging music

within specified guidelines


describing music


performances





history and culture

continued



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.

http://www.voiceinfo.org




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.

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.



EngAgE:

Ask students how they think scientists might

create a visual representation of the sounds

they hear outdoors. Play for students the sound

sample of the Canyon Wren from Raven Lite™

and have them listen and think of how they could show that sound in

a picture. Model for students how you would represent the changes in

(melodic) contour (see Concepts and Science Process Skills) of the pitch

as the wren calls (see sample picture below).

The teacher should organize the class into small groups. Each group

should be assigned an animal sound to analyze from the Raven Lite™

software. Students in each group should begin by looking at a picture

of their animal and reading a short description of its habitat. It would be

best to create these descriptions using the animals you want students to

select from Raven Lite™. In their journals, students should answer the

following question:

What kind of sound do you expect your animal to make and why?

Use words like pitch, duration, timbre, and rhythm to describe the sound.

lEArnIng oUTCoMES: The learners will

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.


Inference

TIME: Forty-five minutes

MATErIAlS: Science journals, pencils,

recordings of animal sounds, computer with

Raven Lite™, construction paper, poster

board, markers, stickers, cloth, crayons, puff

paint, cotton balls, glue, Googly eyes, old

magazines, sand, glitter, and other art supplies

TECHnology rESoUrCES: Raven Lite™











K-4 Content Standard E: Science and

Technology


technology





5E

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

create a visual representation of an animal’s sound.


Life Science 5: HoW CAn HUMAnS rEprESEnT AnIMAl SoUndS?

continued next page



ExplorE:

1. Teachers should distribute large poster-board and

art materials (see materials list for suggestions).

Students in each group will be invited to listen to

their animal sound.

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)



within specified guideline

Goal 5: Reading and notating music


describing music


performances






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.

http://www.thayerbirding.com/






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.creatingmusic.com/






EngAgE:

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

students listen, ask them to journal, answering the following questions:

1. What animals are making this sound? How do you know?

Describe this sound using words like: high, low, tempo,

contour, rhythm.

2. Do you hear any patterns in these sounds? Can you draw a

shape/line/picture to represent this pattern?

Dolphins live and travel in groups in the ocean where visibility is low.

Recognizing members of the group is critical to survival. Dolphins work

together and stay together to make sure the members of the group eat,

are aware of danger, are travel together. They create a ‘signature sound’

for their pod so that they can recognize each other.

ExplorE:

1. Organize students into pairs or small groups.

2. Inform students that today they will make

their own signature sound. Ask students to

make a sound that meets the following

criteria:

• The sound is unique to their pod

• The sound can be replicated easily by other members of

their pod. (This is a great time to point out how a sound that

cannot be replicated is of no use to a species – the animal’s

message to its community would not get across, decreasing

the chances for survival)

• The sound has an identifiable pattern for the listener to identify

and replicate

lEArnIng oUTCoMES: The learners will

recognize that animals create a wide variety

of sounds. Learners will begin to see that

animals use adaptation in order to

communicate with each other effectively.

SCIEnCE proCESS SkIllS: Aural

Observation



recordings of dolphin sounds

TECHnology rESoUrCES: CD player




















describing music


performances





history and culture

5E


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

to create a unique sound pattern that represents their species. Students

will use dolphin calls to understand signature sounds and animal

communication. They will then try to locate each other in a crowded

room with other ambient sound, using their signature sound.


Life Science 6: WHAT IS THE vAlUE oF A SIgnATUrE SoUnd?

continued

http://neptune



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?



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?



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.




EngAgE:

Inform students that today they will put their

signature sounds to the test. Students will go

out and test their signature sounds in different

environments to see if they sound the same in

each environment. Ask the students to brainstorm a list of places where

they would like to test their signature sounds, write that information in

their journals, and share their ideas with the class. Decide what places will

work best in terms of teacher monitoring and school environment, etc.

ExplorE:

Ask students to pair up with their signature

sound partner from Life Science 5. Once the

class has selected four to five places to test their

sound, have the partners go out and record

their signature sound on the recorder in each location. Students should

keep track of the order in which they record each location. Each student

may want to try the sound to ensure equal participation in the activity.

Ask students to also bring along their science journals and pencils so that

they can write down any aural differences they are able to detect among

the various environments. A sample chart is shown below:


identify differences in aural and visual

sound representations based on changing

environments. The learner will recognize

that the environment can shape the way

that a sound is heard.


Inference

TIME: One hour

MATErIAlS: Digital recording devices,

Raven Lite™, science journals, pencils











K-4 Content Standard E: Science

and Technology


technology






• Organisms and environments




with others


guidelines


describing music




5E


with one another in a wide variety of environments. Over years of

evolution, animals have had to adapt to their changing habitats.

Specifically, animals have adapted their animal calls to fit the habitat in

which they live. Animals can also use 'tools' from the natural world to

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

can affect how a signature sound is heard.


Life Science 7: HoW doES THE EnvIronMEnT AFFECT AnIMAl SoUndS?

loCATIon Hallway Bathroom Closet Playground

SoUnd Loud Loud, echo Muffled Hard to hear

dESCrIpTIon Class in Empty Full of coats Two classes

oF loCATIon hallway backpacks, outside playing

etc. and yelling,

cars on road



*

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.




classify cetaceans (i.e., an order of marine

animals that includes whales, dolphins,

and porpoises) and the sounds they create

as songs. The leaner will identify the ABA

(ternary) form, the basis of whale song

construction.


Measurement, Communication

TIME: One hour

MATErIAlS: Rope – 150 ft, measuring tape,

scissors, pictures of three different whales

(blue (27 m or 90 ft), humpback (15 m or 50

ft), and an orca (6 m or 19.5 ft), incorrectly

called a killer whale because it is actually the

largest dolphin.


internet access




scientific inquiry














describing music

Goal 8: Understanding relationships between

music, the other arts, and disciplines

outside the arts

InTrodUCTIon: All animals need to communicate with each other and

use communication systems unique to their species. Communication

systems that are based on sound patterns reflect the animal’s abilities to

send, receive, and classify sounds. We humans use unique sound patterns

in language and music, and other animals use sound patterns unique to

their species to communicate. Some species of large-brained animals (i.e.,

ratio to body size) can invent complex, new sound patterns and others can

vary the species’ song for habitat adaptation. For instance, Songbirds learn

and remember their songs when they are young. The song they learn is

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

due to the dialect variation in their region. But an important example of

regional songs and of species innovation is found in the inventiveness

of Humpback Whales. Male humpbacks create seasonal songs during a

six-month period each year. Humpbacks in the same ocean create each

season’s song together and then sing the same complete song. The songs

are combinations of pitch patterns and rhythmic patterns and usually last

10 to 15 minutes although some songs can last longer than 35 minutes.

Patterns are strung together to create phrases that are further grouped

together to create the new season’s song. Researchers have discovered

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.

Humpback Whales use similar patterns as human music-making. Although

Humpback whales come to agreement on the season’s song each year,

they continue to modify and make changes over many years. Whale song

researchers study the evolution of the song over many years as a way of

understanding the culture of whales and which individuals are influential.

By using imitation and variation whales co-create variations of the song.

Whale songs are considered to be the loudest of all animal songs. Because

males are the ones that sing songs, scientists believe that the object of

the song may be to attract a mate and also to ward off any other males by

declaring territory. But no one knows for sure. The objectives of BioMusic

researchers include gaining a better understanding of the linkages between

musical sounds in all species.

AdvAnCEd prEpArATIon:

Download Audio for:

• Blue Whale - http://macaulaylibrary.org/audio/128262

• Humpback Whale, April 2006- http://www.whalesong.net/index.php/

the-whalesong-project/sounds/whale-songs

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

Put the sound file into Raven Lite™ and create a spectrogram for each

whale’s song.

Life Science 8: WHAT SoUndS do WHAlES USE To CoMMUnICATE? HoW do THEy HEAr THESE SoUndS?


http://macaulaylibrary.org/audio/128262

http://www.whalesong.net/index.php/



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

http://www.whalesong.net/index.php/the-whalesong-project/sounds/whale-songs




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.

Provide students an opportunity to feel sound vibrations in their jaws. Have

students strike a tuning fork on a hard surface and place the handle to their chin with

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.

http://scienceblogs.com/

retrospectacle/2007/02/what_

does_a_whales_ear_look_li.php


http://scienceblogs.com/


EvAlUATE:

Graphic representations of songs, recognizing difference in songs of various whales,

identifying three distinct whale sounds.

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


Humpback Whale, April 2006 (3:31)


orca


diagram of Whale Hearing Mechanism

http://scienceblogs.com/retrospectacle/2007/02/what_does_a_whales_ear_

look_li.php





http://scienceblogs.com/retrospectacle/2007/02/what_does_a_whales_ear_



EngAgE:

Play recordings of Humpback Whale

songs for the students. Use sounds

sources listed in Life Science 8. Have

students listen for patterns in the songs.

Ask students to trace shapes in the air to show high

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.

ExplorE:

Play the whale songs for the students

again. Have students create contour

maps to show the variety of sound

patterns they hear (see example of

contour maps in Life Science 5). In their journals, instruct students

to answer the following questions:

1. Did you hear/see any patterns in the contour lines?

2. Describe the elements that are repeated in your contour map

using musical terms pitch, rhythm, dynamics, timbre, etc.

3. What might these vocalizations be communicating? (In

particular, whales often use vocalized sound patterns to

communicate with group members and family members.

Students may need some guidance in considering the use

of whale songs as a biological function – encourage students

to consider the reasons why these songs are critical to a

whale’s survival (e.g., communal migration, location of

individuals, organized group fishing, attracting a mate,

announcing territory, etc.)


analyze the patterns of repetition and variety

in the vocalizations and sounds of wolves,

whales, and birds. Learners will identify the

basic patterns of call-and-response in the

wild. Learners will further their knowledge of

musical elements by analyzing pitch, duration,

dynamics, and timbre in animal calls. Learners

will also explain the effects of distance and

environment on these elements.

SCIEnCE proCESS SkIllS: Aural Observation,

Communication



classroom percussion instruments,

supplemental CD, contour map samples

TECHnology rESoUrCES: Computers/

speakers













Goal 3: Improvising, within specific guidelines


describing music


performances



5E

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

leaders to guide and mold their behaviors for success in the wild.

Like humans, many animals rely on the norms of their social

units and take behavioral cues from the leaders of these units.

For example, wolf packs follow the social cues of the alpha male

or dominant male wolf. Throughout this lesson, students will

listen to different types of wolf calls and vocalizations in order to

understand group dynamics for survival.


Life Science 9: HoW do AnIMAlS CoMMUnICATE In THE WIld?



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.



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


http://www.oceanmammalinst.com/songs.html

http://www.wolfcountry.net/WolfSounds.html

http://www.everythingwolf.com/sitewide/audiolib/WOLF-000-7.mp3





EngAgE:

Listen to recorded sounds of crows

communicating (http://www.shades-of-

night.com/aviary/sounds/crowcall.wav).

Discuss what the students think the crows

might be communicating to each other. Ask students to keep track

of how many different patterns or sounds the crows make. Students

should use musical terms to identify different sounds, such as pitch,

dynamics, contour, rhythm, melody, etc.

ExplorE:

1. Look at some video clips of crows

(http://www.youtube.com/watch?v=

8gXsruj6UI0&feature=related or

http://www.youtube.com/watch?

v=SE-cIwtkeSU)

2. Ask students how they move. (The crows walk unlike other

birds that hop.)

3. Give each group a scenario from below. Have them read from

the book Crows! Strange and Wonderful, by Laurence P. Pringle.

Have students choose a scenario to act out showing

characteristics of crow behaviors that focus on body and verbal

language in the activity.

lEArnIng oUTCoMES: The learner will identify

examples of body language and verbal calls that

crows use and the reasons for these types of

communication.


Communication

TIME: One hour

MATErIAlS: Crows! Strange and Wonderful, by

Laurence P. Pringle


internet access




scientific inquiry







Content Standard F: Science in Personal and

Social Perspectives

• Characteristics and changes in populations


• Science and technology in local challenges

Content Standard G: History and Nature of Science



Goal 1: The learner will sing, alone and with

others, a varied repertoire of music

Goal 6: The learner will listen to, analyze, and

describe music

Goal 8: The learner will understand relationships

between music, the other arts, and content

areas outside the arts

Goal 9: The learner will understand relationships

between music, history, and culture

5E

InTrodUCTIon: An animal uses sound to warn others to stay

out of its territory and also to attract a mate. These short, simple

vocalizations are ‘calls.’ In this lesson, we will explore the reasons

crows use sounds to communicate. Crows are highly intelligent

birds that have a complex communication system. They make at

least twenty-five different sounds that include growling, squawking,

squealing, cooing, and rattling. They use these different calls to

identify themselves and communicate with other birds. They also

have an emergency call to alert other crows come quickly to help.

A group of crows is called a murder.


Life Science 10: WHAT ArE THE rEASonS AnIMAlS USE SoUndS?

continued

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



http://www.youtube.com/watch?v=8gXsruj6UI0&feature=relatedor



http://www.youtube.com/watch?v=SE-cIwtkeSU

http://www.youtube.com/watch?v=SE-cIwtkeSU



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).

continued

http://www.youtube.com/

http://www.history



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.




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


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



http://www.youtube.com/watch?v=8gXsruj6UI0&feature=related

http://www.youtube

http://www.youtube.com/watch?v=BGPGknpq3e0&playnext=1&list=



http://www.history.org/history/teaching/enewsletter/february03/worksongs.cfm


EngAgE:

Tell students that you can whistle your

own name and then whistle out the

number of syllables that you have in

your own name putting the accent on the

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.

ExplorE:

1. Read Dolphin Talk: Whistles, Clicks

and Clapping Jaws, by Wendy Pfeffer,

to the students.

2. Make a list of all the ways dolphins

communicate and the sounds they

make. The list should include clicks, whistles, squeaks, chirps,

releasing bubbles, movement-nodding, popping noises,

clapping jaws, slapping tails, hit water with entire body, soft,

gentle sounds when showing affection, rattle, burp, moan

and groan. Dolphins also swim in synchrony with each other.

By aligning body movements to move rhythmically with another

individual, i.e. synchrony, the participants show that they have

affinity with another. Do humans do this too?

ExplAIn:

Use a graphic organizer to compare the

way dolphins and humans communicate.

Have students explain what some of

these noises might sound like. Explain that dolphins lack vocal

chords but produce sounds from six air sacs near the blow hole.

Each animal has a unique signature vocalization.

lEArnIng oUTCoMES: Learners will find

several similarities between the way humans

and dolphins use sound to communicate, and

learners will express those similarities in a

Venn diagram.

SCIEnCE proCESS SkIllS: Classification,

Observation

TIME: One hour

MATErIAlS: Dolphin Talk: Whistles, Clicks,

and Clapping Jaws, by Wendy Pfeffer;

balloons, whistles, straws, kazoo, pan pipe,

a pail of water, pitch pipe.

TECHnology rESoUrCES: Computers with

internet access




scientific inquiry





• Sound is produced by vibrating objects, the

pitch of the sound can be varied by





Content Standard E: Science and Technology



technology



Content Standard F: Science in Personal and

Social Perspectives

• Characteristics and changes in populations

5E

InTrodUCTIon: Dolphins and humans share many

characteristics. Dolphins use sounds and body language to

communicate and express similar interactions that occur in human

parent/child relationships.


Life Science 11: HoW IS HUMAn And dolpHIn CoMMUnICATIon SIMIlAr?

continued

continued next page



1. Give students a variety of materials including balloons, whistles,

straws, kazoo, pan pipes and a pail of water to allow them to

experiment making dolphin sounds. The teacher may demonstrate

a dolphin’s sound using a pitch pipe. The teacher may demonstrate

synchrony with some of the children.

2. Have the students do a short presentation to the class of the sounds

and the synchronous movements they created. Have them

demonstrate what the dolphin noises and movements are and act

out with a partner what they mean. See if the rest of the class can

guess what the dolphins are communicating.

3. Re-read Dolphin talk: Whistles, Clicks and Clapping Jaws. Allow

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.


• Science and technology in local challenges

Content Standard G: History and Nature

of Science








http://42explore.com/whale.htm

http://www.youtube.com/watch?v=BlvvaP8TbB0&feature=related




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


video of dolphins Swimming in Synchrony









EngAgE:

Begin the lesson by singing a familiar

song, such as “Old MacDonald” or

“Twinkle Twinkle Little Star.” Lead a

class discussion about repetition (same)

and variation (different) in music. What musical sounds or sections

repeated? How were other sections different? From this discussion

students must have a firm understanding of the following:

1. Musical ideas repeat so that listeners can become familiar with

important musical materials, such as patterns, words, etc.

2. Musical ideas must vary to develop rich quality to tones and

patterns. Variety is what grabs listeners and keeps them

interested in what is coming next.

ExplorE:

Play for the students examples of call-

and-response patterns from various

sources (see links next page). Using

examples from a number of sources will

require that students listen to the musical ideas as opposed to the

words in order to understand what the music is communicating.


discover similarities between human music

and animal ‘songs.’ Learners will explain the

organizational aspects of music and animal

‘songs.’ Learners will demonstrate behaviors

that indicate active listening. Learners will

have an understanding of universal music

concepts from engaging with multicultural

music.

SCIEnCE proCESS SkIllS: Aural

Observation, Communication



samples of world music using call-and-

response, hand drums/variety of classroom

instruments, supplemental CD


speakers with internet access













Goal 2: Playing instruments, alone and with

others


describing music

5E

InTrodUCTIon: Although we do not label animal vocalizations

and sounds as music, there is no denying that we hear musical

elements in the wild and that the natural world greatly influences

our music and the arts. As we have seen, animal sounds contain

many properties that are common in music: pattern, pitch, contour,

dynamics, timbre, etc. In this lesson, students will analyze animal

‘songs’ with special attention to the form of animal sounds. Students

will use the sounds of wolves, whales, and birds to analyze the ways

in which human music and animal sounds are the same.


Life Science 11A : HoW do AnIMAl SoUndS InFlUEnCE HUMAn MUSIC MAkIng?

continued

AlTErnATIvE BASEd on lESSonS: 8-11

continued next page



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

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.


performances




history and culture

http://www.bbc.co.uk/schools/gcsebitesize/music/world_music/






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



Wild Music Site with Thrush Songs to Create Call-and-response Songs

http://www.wildmusic.org/animals

Life Science 11A : rESoUrCES

http://www.bbc.co.uk/schools/gcsebitesize/music/world_music/music_africa5.shtml



http://www.wildmusic.org/animals





EngAgE:

Invite the class to create a list of the

animal sounds that they have heard in

this module. Once a list is generated,

help students divide the animals into

groups by ecosystem. Think of other things in these ecosystems

that create sound. Students’ lists should be expanded to include

animals that have not been heard, as well as sounds that are only

related to the earth (geophonies) and that represent their specific

ecosystem. A starter list is presented below:

Forest: Owl, Woodpecker, Wolves

Ocean: Dolphin, Whale

Rain Forest: Borneo Tree Frog, Jaguar, Howler Monkey

Wetlands: Chorus Frog, Kingfisher

ExplorE:

1. Allow students to access the website

http://www.musicofnature.org/home/

category/soundscapes/. This site

provides samples of six different

ecosystems.

2. Organize students into groups with each group representing an

ecosystem. This can be done by allowing students the choice of

ecosystem or by assigning students equally among the groups.

3. Ask the students to listen to their assigned ecosystem and have

them write down any sounds they hear in their science journals.

Allow students to listen to their ecosystem several times, as each

hearing may lead to more interesting sounds.

lEArnIng oUTCoMES: The learner

will understand how each animal sound

occupies a specific frequency and ‘airspace’

within an ecosystem. Learners will further

their understanding of musical elements

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

sources, students will give a performance

that appropriately and accurately

represents their assigned ecosystem.


Classification, Communication,

Measurement

TIME: Two one-hour sessions


display boards, poster board, colored

pencils/markers, sample spectrograms


speakers with internet access











5E

InTrodUCTIon: Students will create a Critter Choir using their

signature sounds, classroom instruments, and audio samples

of varying ecosystems. Students will create a visual sound map

representing the variety of sounds in specific ecosystems.


Life Science 12: CAn WE CrEATE A CrITTEr CHoIr?

continued next page

http://www.musicofnature.org/home/



ExplAIn:

Show students spectrograms representing

different ecosystems. Explain to students

that the x axis of these graphs represents

the passing of time and the y axis represents

frequency. Lead a class discussion encouraging

students to analyze the different sounds using musical terminology to

describe what they see. Also ask students to mimic the sounds they

see based on wave shape. Instruct students to journal to answer the

following questions:

1. Are there sounds that occupy the same frequency?

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.’




with others


guidelines

Goal 5: Reading and notating Music


describing music


performances

Goal 8: Understanding music in relation

to disciplines outside the arts



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/


http://www.musicofnature.org/home/category/soundscapes/





EngAgE:

Ask students what kinds of science or

music careers are there in the field of

BioMusic? Record student responses

on a chart.

ExplorE:

1. Read the book, Secrets of Sound:

Studying the Calls and Songs of Whales,

Elephants and Birds, by April Pulley

Sayre. Discuss the different types of

jobs that BioMusic scientists do.

2. Ask students to identify whether their class list included the work

of the people in the book. What special skills do the three

featured professionals in the book have that allow them to be

successful in their work?

ExplAIn:

BioMusicologists are scientists and

musician researchers who explore the

commonalities of musical sounds found in

all species. BioMusic is a multidisciplinary

field – biology, animal communication, ethnomusicology, music

theory, neuroscience, physics, bioacoustics, and evolutionary

anthropology – that studies music’s biological and cognitive

elements to explore its role in relationships and meaning-making

in human and non-human cultures. BioMusic’s research focuses

on auditory patterns, particularly sound organization such as pitch

and frequency structures, time and mathematical relationships, and

cultural practices that express themselves throughout all human

lEArnIng oUTCoMES: Through evaluating

information in books, interviews and on the

internet, learners will identify several career

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

sections to correspond with the lessons

being taught throughout the unit

MATErIAlS: Secrets of Sound: Studying the

Calls and Songs of Whales, Elephants and

Birds by April Pulley Sayre


internet access




scientific inquiry




Content Standard E: Science and Technology



technology



Content Standard G: History and Nature of

Science



Goal 8: Understanding relationships between

music, the other arts, and disciplines

outside the arts

Goal 9: The learner will understand music in

relation to history and culture

5EInTrodUCTIon: There are many STEM (Science, Technology,

Engineering and Math) careers emerging from the field of

BioMusic.


Life Science 13: WHAT ArE SoME CArEErS In BIoMUSIC?

continued



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.

http://www.wildmusic.org/en/research



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.



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




Documents

UBEATS Mdocreate 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