OE FORM 6000, 2/69 DEPARTMENT OF HEALTH, EDUCATION, AND WELFAREOFFICE OF EDUCATION

--4ER 1 C ACC. NO.

ED 034 0 9 5

ERIC REPORT

IS DOCUMENT

ERIC

LEVEL

RESUME

COPYRIGHTED? YE.S el NO 0CH ACC. NO.

AA 000 455

P.A.

64

PUBL. DATE

66

ISSUE

RIEAPR70REPRODUCTION RELEASE? YES F3 No 0

OF AVAILABILITY 1 EJ ol HIOAUTHOR

Levine, Toby; And OthersTITLE

Teacher's Guide to Musical Sounds and Shapes: The MATCH Box Project;Prototype Edition.

SOURCE CODE

MGG14325

INSTITUTION (SOURCE).

SP. AG. CODERMQ66004

SPONSORING AGENCY

EDRS PRICE

0.25;2.15CONTRACT NO.

OEC-4-16-019GRANT NO.

.

REPORT NO. BUREAU NO.

BR-5-0710AVAILABILI TY

JOURNAL CITATION. .

DESCRIPTIVE NOTE 41p.;" Appendix to Kresse, Frederick H.; Materials and Activitiesfor Teachers and Children: A Project to Develop and Evaluate Multi-Media Kits

-gen -r ch.olsDESCRIPTORS

.

*Manipulative Materials; *Educational Strategies; *Activity Learning; *MusicActivities; *Listening Comprehension; Instructional Materials; ClassroomMaterials; Learning Processes; Inductive Methods; Experimental Teaching; TeachingProcedures; Teaching Techniques; Teaching Models; Discovery Processes; Units ofStud (Sub'ect Fields); Music Education- Listenin: SkillsIDENTIFIERS

*Materials and Activities for Teachers and Children; MATCH Boxes

ABSTRACT.

What better way is there to'learn about something than to hold it, examine it,and take it apart? The Match Box Project (Materials and Activities for Teachers

- and Children) loans to schools a series of boxes which contain materials,equipment, supplies, and activities designed as a unit to foster theteaching/learning of specific subjects at the elementary school level. MusicalShapes and Sounds is designed for grades three and four. This Match Box giveschildren the chance to study instruments first-hand, to begin thinking abouttheir sizes and shapes, the variety of sounds they make, and how these arerelatdd. The guide presents a two-week program for using the Box. It describesthe materials: the instruments and extra strings, reeds, and mouthpieces; 20pamphlets; clothesline and 20 clothespins; photos, record; film and riddlebook. The guide also describes the activities planned and- offers a flexibletime schedule. The teacher may follow the program completely or adapt parts ofthe Box to a class's particular needs and interests. The program will lead thechildren to ask questions. The authors hope that, in time, this' interest willgrow and develop. (MM)

.

GP 0 70.390

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U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE

OFFICE OF EDUCATION

THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE

PERSON OR ORGANIZATION ORIGINATING 11 POINTS OF VIEW OR OPINIONS

STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE Cf EDUCATION

POSITION OR POLICY

TEACHER'S GUIDE TO

MUSICAL SOUNDSGRADES. 3 AND II

I

BYTOBY LEVINEJUDY GREENE

PAUL FISHMAN

AND

SHAPESPROTOTYPE EDITION

® THE MATCH Box PROJECT"PERMISSION TO REPRODUCE THIS

BY

COPYRIVI-A. TED MATERIAL HAS BEEN GRANTEDVi-A.

TO ERIC AND ORGANIZATIONS OPERATING

UNDER AGREEMENTS WITH THE U.S. OFFICE OF

EDUCATION. FURTHER REPRODUCTION OUTSIDE

THE ERIC SYSTEM REQUIRES PERMISSION OF

THE COPYRIGHT OWNER."

CONTENTS

INTRODUCTION

WHAT'S IN THE BOX

PART IGETTING ACQUAINTED

PART IIMUSICAL MATCHING GAME

PART IIISTEEL DRUM

PART IVTOOT YOUR OWN HORN

PART VHOW DOES IT SOUND

ACKNOWLEDGEMENTS

BIBLIOGRAPHY

ABOUT THE MATCH BOX PROJECT

I NTRODUCTI ONWhat better way is there to learn about somethingthan to hold it, examine it, and take it apart?This MATCH Box gives children the chance to studyinstruments first-hand, to begin thinking abouttheir sizes and shapes, the variety of soundsthey make, and how these are related. It willlead them to ask questions. We hope that, in time,this interest will grow and develop.

0 0 0 $ 0 4 1 0 4 1 1 6

Don't Worry.

WHAT?

YOU'RE NOT A MUSICIAN?

You don't have to be an expert to usethis box. It is designed for exploringthe field of music and sound. We hopethat many of the teachers who use theBox will treat it as an opportunity toenjoy and discover new things along withtheir students.

THE GUIDE

This guide presents a 2-week program forusing the Box. It describes the materials,the activities planned for their use, andoffer's a flexible time schedule. You maychoose to follow the program completely,or you may prefer to experiment, and toadapt parts of the Box to your class'sparticular needs and interests.

We urge strongly that you read the entireguide at the beginning for a view of theBox as a whole. This initial run-throughwill help you decide what you will be need-ing from the Box and the classroom, andhow best to schedule yourAiMe, It is im-portant to allow a day at the end of theunit for PART V, HOW DOES IT SOUND, whichhelps to tie together the threads of thedifferent activities in a meaningful way.

WHAT'SIN

THEBOX

teacher's guideSound Sense by Geoffrey Russell-Smith

violin and bowextra bridgeextra strings

clarinet12 reeds

snare drum2 sticks2 brushes

trumpet12 mouthpieces

2 instruction chartscontainer of listerine

20 pamphlets in pouchesclothesline20 clothespins

22 mounted photosrecordriddle book

steel drumfilm

pipesconnectors2 hoses2 funnels

can you furnish:movie projector, Part IIIphonograph, Parts II and IV

HOW

TO

PLAN

The Box is arranged in five parts. Eachpart is built around an activity whichhas its own emphasis and materials. Inthe first section, the children studyfour instruments. In the second part, agame played with photographs and recordedpassages, the students are introduced toa broader selection of instruments.Instrument-making is first discussed inthe third part. The children examine asteel drum, and then see a film on howthis type of instrument is made. Afterthis the children build their own instru-ments using pipes, hoses and other materials.The fifth and final activity, a guessinggame with sounds of new instruments,completes the unit and ties it together.

The diagram below maps out a suggestedschedule for you. You may wish to changethe timing to spend more or less time on acertain activity or to abbreviate the wholeunit if you have less than two weeks forthe Box.

GETTINGACQUAINTED

I

g22:

STEEL

DRUMAND

MOVIE

IV

TOOT YOUR OWN

HORN

V I VI I VII I VIII IX

To find out what makes something tick,there is nothing like having it inyour hands. The children will beginworking on the F '-x by doing just thiswith the violin, trumpet, clarinet anddrum. The objective of this part ofthe Box is to let them plunge incompletely, learning as much as theycan about the instruments on theirown. They should take them apart,put them back together, play them, andabove all, enjoy them!

GETTINGACQUAINTED

What's needed

IIIABOUT THE INSTRUMENTS

The instruments in the Box may be quite newto you. On the other hand, you may know allthere is to know about them. In either case,the best preparation for bringing them intothe classroom is to spend some time withthem yourself. We have also included thebook Sound Sense, by Geoffrey Russell-Smith.It is short and interesting and containshelpful background information.

Some of the instruments are more difficultto play than others. The violin and thedrum are no problem, but the clarinet andtrumpet are more of a challenge.The 2 folding charts, which explain howthe instruments are held and played, helpthe children get started.

Trumpet

Each child working with thetrumpet may have his own plastic:mouthpiece, which can be cleanedat the end of the day by dippinginto the plastic jar of antiseptic

solution. This is a job one of the trumpetgroup might be assigned to do.

It is necessary to remind again and againabout puffing out cheeks. It does nothelp. Make your lips buzz and blow hardthrough the tube.

The valves can be removed and replaced easily.You will be able to tell if they have beenput back incorrectly: the air columnbecomes blocked and no sound can be made.

Clarinet

The blue labels on the differentparts of the instrument should bein a straight line when it isassembled. This insures properpositioning of the keys.

The parts must be connected tightly.A little cork grease (packed inthe Box with the clarinet) on the

inside wood may be helpful. When a littlebit is rubbed in with the warmth of yourhands, it permits the pieces to sliptogether easily. Warm weather causesthese parts to swell; putting them togetherand taking them apart may take a littleeffort.

A dozen reeds are included in the Boxfor those working with the clarinet. Likethe mouthpieces, they are cleaned with adip in antiseptic solution.

The reeds can become warped. If so,have the children wet them, place themagainst a flat surface, and smooth them.down. They should go back into shapeeasily. Any reeds which become stainedor cracked should be thrown away.

When the ligature, which is the metalclamp, is attached to the mouthpiece, thewider or lower peg should be turned first,as far as possible. The other peg needn'tbe tightened quite so much.

If the tone seems imperfect, warn the childrenthat they may be covering too many holes.Encourage them to do little fingering'of keys until they are able to make a goodsound through the reed and then to tryonly the uppermost keys, with the lefthand.

The clarinet must be held vertically as itis played. Holding it horizontallyhampers the vibration of the reed andhence no sound is produced.

There is always the possibility that theinstrument has been damaged in some way,but it is more likely that the childrenare having their troubles with one ormore of the points above. The clarinet isa tough one to play. A certain amountof frustration may serve to remind thechildren of how much craftsmanship goes

into the making and playing of it. Attimes lack of success may teach as muchas a good rich note!

I

Violin

The violin looks like a verydelicate instrument, but itusually stands up under the mosteager investigation. The stringsand the bridge may possibly breakunder too little or too muchtension. If they do, don't worry.

It is easy to glue the bridge back together,let it set, and put it to further use.In case you need them, an extra bridge andan extra set of strings are included inthe Box.

Rosin is important and helpful. It shouldbe rubbed on the bow often. It increasesthe friction between the horsehairs and thestrings, causing them to vibrate more easily,and it improves the tone considerably.

One child should be assigned to loosenthe bow (with the little knob at thesquare end of it) before putting theviolin away each night. Too much tensioncauses the horsehair to split away fromthe wood.

The question of tuning is bound to come up.Children in the class who are takingviolin lessons may feel the violin mustbe tuned perfectly before any further stepsare taken. Our purpose in bringing theviolin into the classroom, however, isnot to encourage its use as a performinginstrument but to let the class examine itand see how it works.

Snare Drum

The snares are like the violinbow. They hold up better if thehandle controlling the snares isloosened before the drum is putaway at night. Is there a boyin the class to whom this task,or honor, could be assigned?

The children will be able to gather muchof this information on their own. Letthem work out what they can, but help themif they run into difficulty.

In spite of all these things to remember,many of which may be quite new to you,bear in mind that these instruments aremore rugged than you might think. Don'tworry if they return to the Museum with afew scratches!

doGETTING TO WORK

The class should be divided into fourgroups for this section. It works best ifthe children volunteer for their choice ofinstrument. The class often divides upinto surprisingly equal groups.

Allow them to work in their groups for tenor fifteen minutes. Circulate among them,trying to catch the flavor of what they aredoing, and where you are needed, help them.It is in learning to work as a group, sharingonly one instrument, that they may needthe most help.

After ten or fifteen minutes, the childrenwill probably be bursting with excitementand anxious to tell one another what theyhave discovered, if they aren't doing soalready. Reassemble the class (a prearrangedsignal for this simplifies matters) and

allow a little time for exchange of ideas.Keep the instruments out during this period,to encourage showing as well as telling.

After this, the children should have timeto sit down on their own, with a pile ofnotecards or paper, to write out some ofthe questions that are brewimp inside them.

a

...=.4.

Questions have begun to accumulate. Morewill come to mind, which should beexpressed. Some or all may be written down.Some children, for whom writing is aproblem, may be the most prolificquestioners and you may wish to do sometranscribing for them. The importantthing is that as questions come up they beheard and discussed by the group.

Where will the written questions be gathered?Do you have a corner with a bulletin board,or a slice of blackboard, which could bedesignated "The Question Corner" during theBox's stay in your classroom? It can bequite exciting for the children to put theirquestions and ideas up and add new onescontinually. Those which have been answeredcan be removed to simplify things. You maywant to combine your question corner with themusic table as a gathering place for browsingwith the instruments,'charts, and pictures.Keep all this out and available during theday. It will encourage the children to keepmulling over the new material from the Boxafter class as well as during it.

411/ SECOND DAY) AND PERHAPS MORE

The children will probably want tc have asecond day with the same instruments, possiblyeven a third. Have them go on in theirgroups, working on the questions they havebeen gathering. When it is time to stop,have the groups report their findings to therest of the class. This will give the childrenan idea of what other instruments are likeand encourage comparisons.

Let the class study a second instrument inthe same way for one more day if they wishto continue.

Once you are ready to move on to Part II,keep the instruments out on a table andencourage browsing during free moments.This kind of pursuit can often bringsurprising and valuable results.

QuestionCorner ?

CIEIE30 El

r-0

VIP

Children with questions may seek answersto them in different ways. Somechildren may wish to pursue theirinterest through reading. Our clothes-line of book excerpts can be tacked tothe edge of your chalkboard so yourclass can refer to them in theirleisure time.

IN1. , i ..., 8....."

INTERIM

By now the children will have becomeacquainted with one musical instrument indepth, and to some extent with a second.Most of their learning has been acquiredthrough seeing and handling the instruments, little through listening to theirsounds. Now they are ready to beintroduced to the characteristic soundsof those and other instruments.

MUSICAL illMATCHING

GAME

In this part, the children will listento a passage and select, from thepicture pool, the instrument on whichthey think it was played.

What you need

The picture pool consists of elevenphotographs of children playing instruments. We have used children ratherthan adults as models because we hopedit would give third and fourth gradersa better sense of the relative size ofthe instruments.

Each instrument has characteristicswhich distinguish it in appearanceand sound: size, the material of whichit is made, or how it is played. Wewant the children to learn to distinguishthese characteristics, rather than thenames of the instruments,and to noticehow the sounds they make reflect thesequalities.

Side one of the record is made up of Record, side one:brief solo passages by each of the 1 trumpetinstruments in the picture pool, with 2 cymbalthe exception of the recorder passage, 3 xylophoneon which there is a harpsichord 4 banjoaccompaniment. This passage is a 5 harpchallenge to the listeners. They may 6 tympaniat first confuse the two instruments 7 chimesas one; usually, they can distinguish 8 violinthem if encouraged to listen carefully. 9 fluteThe instrumental passages last no 10 bassoonlonger than thirty seconds each and 11 snare drumare spaced far enough apart on the discfor you to find the band you wishand place the needle on it easily.

The riddle book contains riddles whichgive information about the physicalproperties of each instrument and howit is played. They will be used ashelpful hints in the matching game.

110 HOW TO PLAY THE GAME

The children should sit in a large circleor semicircle, to be able to see one another'spictures. Two or three children may sharepictures, depending upon the size of theclass. You could tell them that they aremembers of an orchestra, and that you willbe the conductor.

The children will probably be interested inthe different pictures, and have commentsabout them at the beginning. Let themdiscuss them for a while and speculate onwhat kinds of sounds they would be likelyto make.

Then play a passage and have the childrenstand if they think the instrument is theirs.RUT, if they stand they must give a reasonfor doing so. Others should pitch in, voicingtheir own opinions, and a lively discussionwill develop.

Here are some situations which may come up:

The passage is played.

IF THENNo one stands Nothing gained, nothing lost, Apparently

no one is ready to give a reason. Dropit for the moment and go on to the nextsound. Later, when the other passageshave been discussed, come bauk to it andhave another try. You may need to "primethe pump" with a question or two to getthe discussion started. If that doesn'thelp, use the riddle as a hint.

Severalchildren stand

The issue cannotbe resolved

Let one child give his reason and see ifothers can dispute it.

Play the tape again - it is hard to remembera sound when you are anxious to speak up.You may need the riddle describing theinstrument as a hint.

Let the discussion continue as long as itis productive. When it is time to resolvethings or to rescue a stymied class, readthe riddle. It will offer more than a patanswer, as it must be deciphered to beunderstood. Once the question is answered,play the tape again to reinforce the connec-tion of the picture and the sound.

WHAT CAN YOU EXPECT

Initially the children's reasons willprobably be of the type: "I think it is thecello because that; is the way it soundedwhen I once heard it." If they can be ledbeyond this, to use what they have learnedin Part One in making pertinent guesses, anexciting discussion may result. Forexample, is it a brassy sound they hear, likethe trumpet, or is it more like a reed?Does it seem to be hit or plucked? Ifit has a very deep sound, would thisstringed instrument be likely to be largeror smaller than the violin?

Although you may be eager to bring outinformation you know the children haveand can use, and in fact you may becomerather excited yourself, let the discussioncarry itself as long as it progresses well.

You may feel that the children are notwell equipped at this point tc, speculateon sounds they may never have heard andinstruments they have not seen. This isquite true. However, it is the process ofputting ideas together, not the correctnessof the answer, which is important. Thechildren learn, as they play the game, tolisten carefully to the sounds, and connectthem with the structures of the differentinstruments.

The children will probably want to repeatthe game, and they will certainly benefitfrom hearing the passages again. A quickrun-through of the passages, changing theirorder, will be a good review and a chanceto try out new knowledge. It is alsoenjoyable. You may want to do this tlie nextday, or as a change of pace during PartIV, the section on making instruments.

You may find also that the children enjoyplaying matching games on their own withthe pictures and riddles. This helpsthem to become more familiar with the material.It also gives them a chance to continue ontheir own, which for many is a valuablechange of pace after large class activities.000.41000

4111TAKING STOCK

Now is a good time to stop and take stockof what has happened and what is to come.

The class has probably come to know thefour instruments fairly well through formaland informal instruction. Probably manystudents have learned to play a few notesor perhaps a tune on them. The studentshave also been presented with the sounds ofa great variety of instruments and havelearned to discuss sounds in terms ofmusical structures.

In Parts III and IV they will sire a filmon instrument making and then begin toexperiment with making their own musicalstructures.

O0

1111 MYSTERY INSTRUMENT: WASHTUB BASS

One of the two packaging drums has beenpurposely designed to convert into a simplestringed instrument. These are usually madewith a washtub, hence the term "washtubbass". Any of your students could easilymake one at home. To assemble this one,string the nylon laundry cord (with a loopand bolt in its end) through the hole in thebottom of the packaging drum. Its loopedend should be strung over the aluminum pipe(2 parts screwed together). Hook the pipeover the rim of the drum, as in the diagram.The bass works most successfully if it istipped up slightly on one side, on a stickof wood or a small box.

INTHE

IhTERIM

Try leaving the makings of the bass outby the music table. Say nothing about itand see what happens. It may be that someinquisitive student will assemble the bassimmediately. It may seem very mysteriousand take some time. You may find itnecessary to give some hints if no one isable to solve the mystery.

This instrument shows the principle ofchanging pitch in two ways: by pushing thepipe outward (see diagram I) the string'stens_' on is altered, and by stopping the stringat different points with one's fingers(diagram II) its length, and thereforeits pitch, changes.

This lesson is a preparation for themaking of instruments which follows inPart IV. The steel drum is a goodintroduction to the film, and is quitea curiosity in itself. Bring it out,but don't tell the children much aboutit. They will want to look it overand play it. The film, which describesthe making of steel drums in Trinidad,will follow this quite naturally.

STEELDRUM

What you need

The film, Music from Oil Drums (16 mm,11 minutes), which is beautifully direc-ted and narrated by Pete Seeger,describes the making of steel drums inTrinidad, and gives a taste of theirunusual music.

It has been included in the Box tocommunicate the enjoyment of making andplaying one's own instruments ratherthan to teach specific facts about theprocess. The children may not befamiliar with this new kind of music.The film, and the instrument construc-tion which follows in the next section:may prompt them to use what they seearound them to do some musical inventingof their own.

4111AFTER THE FILM

As a follow-up to the movie your class maywish to plan how they would make their ownsteel drums. They may wish to see themovie a second time to check the procedureand speculate on what materials they woulduse. Let this come as a spontaneoussuggestion,however. The children may haveother things on their minds which they wouldlike to discuss, such as the differencesbetween the steel drum and the snare drum.

0 NOTE

Do you have a student- or team-teacher whocan take one half the class when convenient?It might be a good idea to rearrange theplanning for Parts IV and V in such a wayas to have half the class watch the film inan auditorium, and discuss it there, whilethe other half works on the first homemadeinstrument exercise of Fart V. The twogroups could exchange places the followingday. This would make the beginning ofPart V more peaceful, and would allow thechildren more equipment to work with.

How is the Question Cornercoming? Have the childrenhad time to jot down newquestions and to reviewold ones?

Now it is time for a construction sessionusing the grey pipes, tubes and hoses.

Our purpose in designing the kits ofpipes and related matter is to enablethe children to work on their own, asinstrument makers, to put some of theprinciples they have been learning intopractice as they build.

O 0 4 0 0 O 41.

TOOT

YOUR

OWN

HORN

POINTS TO KEEP IN MIND:

Pitch is related to length of pipe: as onepipe is added to another, the note it playswill deepen. How far it goes down willdepend upon the length of the new pipe.

A pipe's "length" can be changed by boringa hole in it. If the hole is left uncovered,the air will escape at that point. Thepipe acts as if it were only that long. Itsnote is higher. If the hole is covered up,the pipe plays a different note. It islonger. The clarinet's keys and the trumpet'svalves serve the same purpose.

The reed set into the pipe vibrates. Itsvibrations resonate in the tube. Theclarinet's reed is shaped differently fromthis 'one, but it serves the same purpose.

When a bell is put on the end of a tube, thesound coming through is amplified. Thetrumpet and the clarinet both have wide,bell-like ends.

A pipe can turn corners, curve around manytimes, and still play the same note.

The children's constructions are not intendedto perform as musical instruments, but onlyto exemplify some of their characteristics,and to give the children the experience ofbuilding their own round-makers . The con-trast between the sounds even a beginner canmake on the trumpet and the noise from theplastic plumbing tubing should prevent anyonefrom having pretensions as a musician or aninstrument-maker, and should make all awareof the complexity of the five real instruments,and the craftsmanship which has gone into theirconstruction.

0

First Day

4110TRY OUT THE PIPES

Each team of two children should receiveone reed, four pipes, one of each size, withan extra three-inch pipe, and three connectors.Spread the L's and T's around to give asmany children as possible a chance to experiment with them. Save the hoses, funnels,and two-inch pipes with holes drilled inthem for the second day of this section.

4110ABOUT THE REEDS

These are vibrators which work on the sameprinciple as a clarinet reed, but are mucheasier to blow. (Our design was inspired bya foghorn!) We have included the unassembledparts of one reed in a plastic bag for thechildren to try to assemble and blow.

If a reed seems plugged and won't vibrate,bend it and flap it back once or twice.

STEP ONE: This lesson is bound to be noisyand exciting. Its purpose is to familiarizethe children with the kits of pipes. Havethem begin by working at their seats in pairsfor about five minutes. Let the studentsfind out all they can about their pipes. Atthe end of that time, get the group'sattention (use your pre-arranged signal again),and let them discuss their findings briefly.

How many sounds could they make with theequipment they were given?

What does the reed do? Is it like theclarinet's reed? (This is a good time tohave them take a close look at theunassembled reed.)

This kind oT discussion is important whilethe class is working with the simplestelements of the kits.

STEP TWO: When they are ready to go on,combine pairs into groups of four and letthem pool their equipment. See what theycan make of what they have. After five orten minutes, some interesting concoctionswill have been created, and the pitch ofexcitement, if not of pipes, should befairly high. It is up to your judgmentwhether or not to have the groups discusstheir findings at this point. It may beimportant to have the chance, and it may bea fine time to stop the music!

Storage Suggestion: Have four collectionareas (closet shelves or cartons) to whichgroups return their pipes. They will thenbe ready for tomorrow's use.

Second Day

1111SUPERSTRUCTURES

Today's lesson will carry yesterday'sexplorations a step further. In four largegroups, using all the materials in the kit,the class will attempt to solve specificproblems posed by you In the recapitulationwhich follows, an attempt will be made tocompare the characteristics of the pipeswith those of the various instrumentswhich came before.

Each of the four groups should receive afunnel. Groups working with Problems Oneand Four (see next page) should be given fourpipes with holes drilled in them. Groupsworking with Problems Two and Three shouldeach receive a hose.

111/ HOW TO PROCEED

Combine yesterday's groups into four largeteams. Assign a capable leader to eachgroup, to insure some element of organization,and to help the group formulate and reportits findings to the rest of the class.

Give each group its new materials and allowsome time for them to get used to workingwith the materials and with each other.

You may find that you wish to extend thisactivity and devote a third day to theproblem solving which follows. In any casesonce they have had sufficient chance to digin and experiment, pose these fourproblems, one to each group:

Make an instrument which:

1. will play at least four notes. How many morenotes can you make it play? (This group willhave received pipes with holes.)

2. looks small but makes a deep sound. (Hose isessential for this group.)

3. can be played in several different ways.What happens? (Hose for this group.)

4. must have three players to work. (Theyshould have pipes with holes.)

110 RECAPITULATION

Signal for groups to reassemble and prepareto tell the rest of the class their findings.Have the children bring the instruments fromthe music table to wherever your discussionwill take place. The string bass, which bynow must be familiar to many of the students,should come too.

Each group should have a chance to demonstrateits findings. There may be other discoveriesto demonstrate. As the discussion unfolds,encourage the students to relate theirobservations to the original instruments,to see if they apply to them as well. Anenthusiastic bass player should reporton that instrument, and draw comparisonswith the violin.

Every class responds differently to thispart of the Box. All enjoy it. It will beinteresting to see what your class will dowith it.

To use all the learning gathered apto now on new materials, tie thingstogether, and conclude with a problemthat is fun to solve. For this weuse another matching game, in whichchildren again see pictures ofinstruments. This time they theorizeon what sounds they think the instrumentsmight make. Then they hear them andsee how accurate their theories havebeen...b 4,* * 1;2664, 00$

HOW

DOT',S1

ITSOUND?

This is a list of thepassages on side two ofthe record. You may wantto slip in passages fromthe first side of therecord, from time to time,in order to make thechoices more difficult.

1 string bass 7 triangle2 cello 8 lute3 oboe 9 recorder4 guitar 10 trombone5 gong 11 autoharp6 bass drum What you need*.s*1111 HOW TO PLAY THE GAME

What? The same game? Again a record andpictures? It may seem the same at first,but the children will soon learn that theymust fill a taller order. Using anotherrecord and set of pictures, the childrenwill again go through a matching process.They will discuss each instrument andpresent theories on what its sound will belike. Opinions will differ and a debatesuch as that in Part II will develop. Inthe first game, they began with the soundand tried to guess by their shapes whichof the instruments played it. This timethey begin with the structure and tryto imagine what sound it would make.

The pictres in this serA.-, somewhatrelated to those studied. IL r,he first.For example, the cello in the secondseries; the violin and string bass were inthe first The children w.111 have to usethe knowledge they have bee:. ,.athering upto now on new instruments which are similarto the first set, yet subtly differentThe discussion will be a good test of howmuch the class has learned, not so much ofspecific names and sounds as of the abilityto generalize with the material they haveabsorbed.

You may find you are able to he lo the childrenthink imaginatively by encouraging them tothink back on what they know and choosegood evidence to support their theories.

Play the appropriate passage after thediscussion has run its course. Betteryet, surprise them by playing threepassages instead of the one, to see ifany of the sounds fits their predictions.Which is the instrument we have beendiscussing?

04#6

A_FiNgs, NOTE

Two weeks is a short time In which tolearn much about sound and MLIt'.1C. TheBox has been intended as a lively introductionand a stimulus to deeper study. We hopeyour class has enjoyed it, and that it hasoffered them some new in,:;ightso

ACKNOWLEDGEMENTS

Ad\ We have been fortunate to have the help

Elm and support of the following people, whocomprise the Development Team for the Box:

Susanne Flagg, first grade teacher, Willard School, ConcordEdward Freeman, musicianDenise Rosenzweig, fourth grade teacher, Davis School, NewtonNancy Stone, third grade teacher, Beethoven School, NewtonJack Swanton, Mitre Corporation, BedfordNicholas Tranquillo, fourth grade teacher, Tobin School, Boston

James Wiltshire, Music Education Department, Boston UniversitySchool of Fine and Applied Arts

IIIThe third and fourth grade teachers, whohave tried out the Box in their classrooms,and offered suggestions:

Miss Jacqueline Bernardin, Bishop School, ArlingtonMrs. Jean G. Fleishmann, Runkle School, BrooklineMrs. Ann Kleinman, Tobin School, BostonMiss Mary Mooney, Agassiz School, Jamaica PlainMrs. Ellen Quinn, Jefferson School, Jamaica PlainMiss Emily Romney, Peabody Summer School, Cambridge

4111

Those who have helped in developing andproducing things for the Box:

Stephen Fassett, Fassett Recording StudiosStephen Gersh, Photographer'Lerner Publications Company and William Morrow and Company, Inc.,

who permitted use of individual chapters of Their books.Charles Webb, Designer and WoodworkerBill Schroeder, Architect and Designer

1111

From the Children's Museum, those who havehelped us in many ways:

Karen Danstedt, Graphic DesignDebby French, Muriel. Gaines, and Bunny Platek, AssistantsBarry L'Etoile, EditorDuncan Smith and Robert Walker, Designers

Paul FishmanJudith GreeneToby Levine (Co-Leaders)

BOOKS TO READ

For the Teacher: General

Britten, Benjamin The Wonderful World of Music. New York:Garden City Books, 1958. 68 pp.

Unique. Beautiful illustrations and ex-cellent historical information. Teacherswill appreciate it, children will learnlittle.

Commins, Dorothy All About the Symphony Orchestra andWhat it Plays. New York: Random House,1961. 137 pp.

Good descriptions of the instruments. Ex-cellent, clear illustrations. Concentratesa bit too much on the forms of musicalcomposition.

Donington, Robert The Instruments of Music. New York:Barnes and Noble, Inc., 1962. 202 pp.

Very good summary of sound and all its im-plications. Describes the instruments, howthey are held and how they sound. R.thercomplex diagrams.

(no author) The Instruments of the Orchestra. Chicago:Scott Radio Laboratories, Inc.,1945.54 pp.

Adequate descriptions of all the instru-ments. Excellent photos show how t'.eyare held. A little too much emphasis onmajor works performed by each instrument.

Stoddard, Hope From These Comes Music. New York:Thomas Y. Crowell, Co., 1952. 256 pp.

Good individual descriptions of the instru-ments. Excellent illustrations and diagrams.

For the Teacher: On Sound

Baer, Marian E. Sound: An Experiment Book. New York:Holiday House, 1952. 127 pp.

Beeler, Nelson F.

Freeman, Ira M.

Irving, Robert

Windle, Eric

Very good sound experiments. Helpfulto teachers who spend time on tht.theory of sound.

Experiments in Sound. New York:Thomas Y. Crowell Co.,1961. 130 pp.

Good introduction to sound. Not quiteelementary enough for children. Goodexperiments for the teacher to introduce.

All About Sound and Ultrasonics.New York: Random House, 1961. 141 pp.

Good, very clear explanation of sound.Heavy emphasis on ultrasonics. A littletoo advanced for children. Good back-ground information for the teacher.

Sound and Ultrasonics. New York:Alfred A. Knopf, 1959. 146 pp.

Too complicated for most children.Good summary of sound and specialeffects for the teacher.

Sounds you Cannot Hear. Englewood Cliffs,New Jersey:. Prentice Hall, Inc.,., 1963.69 pp.

Clear explanation of ultrasonics. Notfor children.

For the Children

Baer, Marian E.

Balet, Jan

Fraser, Beatrice& Ferrin

Sound: An Experiment Book.New York:Holiday House, 1952. 127 pp.

Useful in experiments by children ontheir own. Teacher's preparationnecessary.

What Makes an Orchestra. New York:Henry Walck, Inc.,1951. 41 pp.

Clear, light and chatty. Concentrateson the sounds instruments make. Veryappealing.

A Song is Born. New York: Little,Brown & Co.,1959. 32 pp.

Very elementary theory of music. Color-ful illustrations. Not too informative.

Geralton, James The Story of Sound. New York: Harcourt,Brace and World, Inc.,19480 74 pp.

Good summary of sound. Clear to bothteachers and children.

Huntington, Harriet E. Tune-ila. Garden City, New York:Doubleday & Co., Inc.21942. 76 pp.

Very simple language explains each in-strument of the orchestra, Excellentcloseup photos,

Hughes, Langston The First Book of Rhythms. New York:Franklin Watts, Inc.,1954. 63 pp.

Very elementary introduction to rhythmsin every part of life. Not immediatelyapplicable to music,

Keen, Martin L. The How and Why Wonder Book of Sound.New York: Wonder Books1,7.72. 413---157

Good general survey of sound. Manyillustrations. For teachers and children.

For the Children

Lacey, Marion

Levine, Jack &Takeru HP.=

Podendorf, Illa

Sherman, Elizabeth

Picture Book of Musical Instruments,.New York: Lothrop, Lee, and Shepard Co.,Inc. ,1942. 55 pp.

Clear, descriptive, but very brief.Good clear illustrations.

What Musical Instrument for Me? New York:Sterling Publishing Co.,Inc.11959. 125 pp.

Practical, how-to-play-nearly-everything.Shows parts of the instruments, howto hold and blow them. Good closeuppictures.

The True Book of Sounds We Hear. Chicago:Children's Press, 1955. P. pp.

Extremely simple and entertaining. Nottoo applicable to music.

Merry Music Makers. Chicago: Children'sPress, Inc. ,1952. 32 pp.

Very simple explanations and descrip-tions of the instruments and how theysound. Funny, colorful animal picturesaccompany the text.

1111 FILMS TO SEE

FLUTE, CLARINET, AND BASSOON

THE STRING TRIO

TRUMPET, HORN, AND TROMBONE

16 mm Coronet Films11 min. Coronet Buildingsound 65 E. South Water Street

Chicago, Illinois

SCIENCE IN THE ORCHESTRA

16 mm McGraw Hill12 min. 330 West 42nd Streetsound New York, New York

TOOT, WHISTLE, PLUNK, AND BOOM

16 mm Walt Disney 16 mm Films10 min. 545 Cedar Lanesound Teaneck, New Jersey

SOUNDS FAMILIAR

16 mm Bell Telephone Company23 min.sound Just call or visit your localfree telephone business office.

THE SPEECH CHAIN

MAKING MUSIC WITH WIND AND STRING

16 mm Bobbs-Merrill Co., Inc.19 min. 4300 West 62nd Streetsound Indianapolis, Indianafree

A little advanced for children.

1111 RECORDS TO HEAR

Saint - Satins. Carnival of the Animals.narrator: Leonard Bernstein.Columbia Masterworks.

Excellent. Music and narration are veryappealing. Children play the instruments.

Britten. Young Person's Guide to theOrchestra. (On same record

Excellent. The narrator is a child.Examines how Britten put a piece ofmusic together and built each instru-ment onto the base of the precedinginstruments.

A Child's Introduction to the Orchestraand All Its Instruments.Golden Records.

Good. Very entertaining. Lyrics aboutthe instruments illustrate and accompanythe music each instrument play. Quiteelementary.

PLACES TO GO AND THINGS TO SEE

Young Audiences

Youth Concerts

Youth SymphonyOrchestras

Organization with many local branches.Will send various instrumental groupsto schools to perform and discuss theirinstruments. In the Boston area, callthe Young Audiences office, 116 Newbury St.,Boston, 266 -0322, for information aboutprograms.

Series of young people's concerts af-filiated with the symphony orchestrasof several cities. Season tickets about$5.00. In Boston, call or write SymphonyHall, 251 Huntington Avenue, Boston,266-1492, for further information.

Orchestras composed of children of vari-ous ages in many cities. Rehearsals andseveral concerts a year are free toschool-age audiences. In the Boston area,call Boston University, School of FineArts, 262-4300, Extension 8220 for aschedule of this year's presentations. Inother cities, call the office of the localsymphony orchestra.

ABOUT THE MATCH BOX PROJECT

In June, 1964, under a contract with the United States Officeof Education, we started the MATCH Box Project at theChildren's Museum. The term "MATCH" stands for Materials andActivities for Teachers and CHildren. A MATCH Box containsmaterials, equipment, supplies and activities that worktogether to foster the teaching/learning of specific subjectsat the elementary school level. The Boxes contain a highproportion of real objects and require little or no auxiliaryequipment or supplies from the school. In every Box there isa Teacher's Guide which serves to organize and activate thethree-way encounter between the materials, the teacher andthe children.

MATCH Boxes are designed for the relatively intensive treat-ment of a subject over two weeks, and can be circulated amongteachers through material resource centers, libraries, museums,AV departments.

As the Boxes are being developed, materials and activities aretried out in the schools. Prototypes are then assembled,evaluated in local classrooms, and revised prior to distri-bution.

The first five MATCH Boxes, completed in September, 1965, were:GROUPING BIRDS (Grades K-2); THE CITY (1-3); THE ALGONQUINS(3,4); SEEDS (3,4); and A HOUSE OF ANCIENT GREECE (5,6).

The Box described in this guide is one of a second "generation"of Boxes completed in September, 1966: HOUSES (Grades 1-3);ANIMAL CAMOUFLAGE (2,3); NETSILIK ESKIMOS (3,4); MUSICAL SOUNDSAND SHAPES (3,4); ROCKS (5,6); JAPANESE FAMILY 1966 (5,6); andMEDIEVAL PEOPLE (5,6).

A third generation of Boxes will be finished in September, 1967.

Though the Boxes are our most tangible product, we use them andthe developmental process itself as a method for studying therole that real materials play in teaching and learning, and asa way of seeking principles by which media may be combined tocreate effective educational systems.

This Box and this guide are prototypes and will be revised. We

welcome your comments and criticisms. Please write to the MATCH

Box Project, The Children's Museum, 60 Burroughs Street, Boston,Massachusetts 02130.

Fred H. KresseProject Director