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Engaging with Text. November 5 Professional Development Day. Putting The Pieces Together…. Making the Shift. Complex Text Close Reading Text-dependent Questions Text-based Evidence Balance of Text Types Writing from Sources Academic Vocabulary Speaking and Listening
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Engaging with Text November 5 Professional Development Day
Making the Shift • Complex Text • Close Reading • Text-dependent Questions • Text-based Evidence • Balance of Text Types • Writing from Sources • Academic Vocabulary • Speaking and Listening • Short, focused Research • Integration of Standards
MSC/CCSS Comparison CCSS Maryland
PARCC Assessment DesignEnglish Language Arts/Literacy and Mathematics, Grades 3-11 Optional/Flexible Assessments • End-of-Year • Assessment • Innovative, computer-based items • Mid-Year Assessment • Performance-based • Emphasis on hard-to-measure standards • Potentially summative • Performance-Based • Assessment (PBA) • Extended tasks • Applications of concepts and skills • Diagnostic Assessment • Early indicator of student knowledge and skills to inform instruction, supports, and PD • Speaking And Listening • Assessment • Locally scored • Non-summative, required Summative, Required assessment Interim, optional assessment
What do our students need to do? AP Language: Carefully read the following seven sources, including the introductory information for each source. Then synthesize information from at least three of the sources and incorporate it into a coherent, well-developed essay that argues a clear position on whether the USPS should be restructured to meet the needs of a changing world, and if so, how.
How do we prepare our students? • Connecting Learning where appropriate across content areas • Engaging in purposeful and deliberate use of strategies to navigate text. • Test Literacy: How are test demands different from classroom work?
Chunk Learning Experiences • Engaging in Visuals • Continue on the learning that has occurred in students’ art courses: • Emotionalism: the art invokes an emotional response • Formalism: the artwork uses the principles and elements of design to create a composition: line, shape, shadow, light, etc… • Imitationalism: also called Realism, the art looks real, looks true to life
Description - This painting is a portrait of a man and woman. They take up most of the foreground. They are both wearing dark colors. The man is bald, is wearing spectacles and is holding a pitchfork. The woman has her hair pulled back. In the background there is a building with a window. A little bit of blue sky is showing.Analysis - The artist uses dark colors in the foreground and light colors in the background. There is a lot of contrast between the black and white on the people's clothes. The pitchfork also shows contrast as well as line. I think the focal point is the man's bright white shirt. The composition shows balance, as there is the same amount of visual weight on both sides of the composition. • Interpretation - The people in this picture do no look very happy. I think the are very serious people who probably do not have a lot of fun. If I were to spend the day at their house I think I would be very bored. They are probably farmers because the man is holding a pitchfork.Judgment - I like this picture because it really made me wonder what was going on in the minds of the 2 people. This is not something that I would hang in my house, but I would definitely like to see it in real life. • Theory - The theory of art that best describes this painting is realism because of the subject matter and the way the artist painted the people. However, because the people look so convincingly serious, I also felt the painting exhibited a little emotionalism because it made me feel a little uncomfortable with them starring at me.
Conducting an Art Critique1. Have the students look at an image and create a thumbnail sketch. A thumbnail sketch is a small, quick sketch that should take no longer than 5 minutes. 2. Credit Line(artist name, date, medium, size, location) read, write, or discuss the information described in the credit line. 3. Describe the artwork. Using vivid language describe what you see in the image. Encourage students to use adjectives.4. Analyze the artwork. Students will search for and identify the principles and elements of design within the artwork. This step can be skipped or modified for younger students.5. Interpret the artwork. Students will explain what is going on in the picture. Students will explain how, what, where, why, when etc. This step requires making inferences as well as using imagination.6. Judge the artwork. Students express their feelings about the artwork. Why do they like/dislike it? What aspects of the artwork do they like or dislike? Teacher can also introduce the 3 theories of art: emotionalism, formalism and imitationalism https://sites.google.com/site/myartresources/the-art-critique
The Continuum of Mood and Tone Joyful Somber Resentful Neutral Content Nostalgic Morose Apathetic
The Continuum of Mood and Tone Morose Content Apathetic Joyful Neutral Resentful Nostalgic Somber
Visuals and the Continuum Positive Neutral Negative
Visuals and the Continuum Positive Neutral Negative
The Power of Words Give this a headline:
Positive Neutral Negative Art theory: Imitationalism Formalism Emotionalism Give it a Headline:
Other visual strategies: • Optic Strategy: See handout • Why focus on Visuals: • Future assessments will include visual components • The ability to think critically about a visual….applies in all content areas • The future SAT essay will include a visual…chart, picture, etc.
The Art of Headlines with the SAT • Headlines have power. • Headlines summarize the main ideas of passages. • When headlines are used with visuals…they can determine the readers/viewers feelings about the visual. • They can even assist with the short passages on the SAT.
The ability to see the situation as your opponents see it, as difficult as it may be, is one of the most important skills that you can possess as a negotiator. You must know more than simply that they see things differently. It is not enough to study them like beetles under a microscope; you need to know what it feels like to be a beetle. To accomplish this you should be prepared to withhold judgment as you “try on” their views. Your opponents may well believe that their views are right as strongly as you believe yours are.
Scientists do not know exactly how a salmon “remembers” the way back to its native stream after an ocean journey possibly lasting several years and covering several thousand miles. They agree, however, that salmon, like homing pigeons, appear to have an innate compass or “search recognition” mechanism that operates independently of astronomical or physical signs. Some scientists theorize that this internal compass uses the infinitely small electrical voltages generated by the ocean currents as they travel through the earth’s magnetic field. Others believe that the salmon’s homing mechanism may take its cues form the varying salinities of the water or specific smells encountered along the journey.
What are the other strategies for Engaging in texts? • Avid Strategies • Graphic Organizers • Critical Approaches • Cornell Notes……..(Forgotten Reflection Piece) • Question the Author • Three Step Approach to Rhetorical Analysis
Never let the moment for critical analysis to pass. Consider Engagement as the critical goal. Music: • Copland's 3 Planes of Listening • The American composer Aaron Copland wrote a book in 1957 entitled, "What to Listen for in Music". In this book, he describes what he calls the "Three Planes of Listening". While there is no new information here, understanding the planes can help students focus and really hear more deeply than before. The Three Planes of Listening:1. The Sensual Plane - It's not what it sounds like. The sensual plane is the level where you're aware of the music, but you don't listen enough to really make a judgement about it. It can even be background music. When you notice instrumentation or the quality of the sound, that's the sensual plane. Most people never listen to music outside of this plane.2. The Expressive Plane - In the expressive plane, you notice how the music makes you feel. For example, you might notice that a minor key may make you feel down and a major key might make you feel up. Also, fast music might make you feel nervous. In this plane, you can visualize what the music might represent. (Like a storm or a beautiful sunny day.) Sometimes, I have my students draw or paint a visual representation of a piece of music that I play for them. I wasn't aware of it at the time, but I was helping them to hear music in the expressive plane.3. The Sheerly Musical Plane - This is the plane at which most musicians, conductors, critics, music teachers, and judges listen to music. In the purely musical plane, you can separate the music into elements such as tempo, pitch, dynamics, key signature, time signature, form, chord analysis, etc. It contains all the jargon as well.4th Added Plane: The lyrics…. What social statement is made in the lyrics? How are poetic conventions used within the writing? Apply the critical approaches to music: sociological, archetypal, feminist, historical, biographical, formalistic..
Planes of Music • Student Engagement: Dr. W Boykin “Begin with the literature that motivates their thinking..have the students analyze the music, the writing, and form a critical analysis. Have the students examine the social statements or the literary devices used to compose the lyrics. Then move into Shakespeare, following the same process.”http://www.youtube.com/watch?v=VryXkOBCM5I
