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Using Song Picture Books to Support EmergentLiteracyMary Renck Jalongo a & Deborah McDonald Ribblett ba Department of Professional Studies in Education , Indiana University ofPennsylvania , Indiana , Pennsylvania , USAb Indiana School District , Indiana , PA , USAPublished online: 25 Jul 2012.

To cite this article: Mary Renck Jalongo & Deborah McDonald Ribblett (1997) Using Song Picture Books to SupportEmergent Literacy, Childhood Education, 74:1, 15-22, DOI: 10.1080/00094056.1997.10521908

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Using Song Picture Support Emergent

M a y Renck Jalongo and Books To Deborah McDonald Ribblett

Literacy

M a y Renck ]alongo is Professor, Department of Professional Studies in Education, + lndiana University of Pennsylvania, Indiana, Pennsylvania. + Deborah McDonald Ribblett is an lnstructional Support Teacher, lndiana School District, Indiana, PA. +

A

M usic enriches the lives of children in many signifcant ways. Lullabies played during infancy have a calming effect and offer reassurance fiom the earli- est days of life. During toddler and preschool years, traditional nursery rhyme songs like ”Twinkle, Twinkle Little Star” and musical fingerplays such as “The Eency Weency Spider” be- come a source of delight, both for the child striving to master them and for the adults witnessing the process. Many young children learn their ABC’s as a song long before they are acquainted with theshapes or sounds of individual letters (Langfit, 1994).

Not so long ago, reading teachers looked upon children’s memoriza- tion of a favorite book as uncon- nected to ”real” reading. Educators now know, based on emergent lit- eracy research, that an important breakthrough in the literacy pro-

cess occurs when a child knows a few books so well that she can tell if any portion of the text has been skipped or altered (Sulzby, 1985). Teachers also rec- ognize that the typical young child arrives at school with a repertoire of memorized song lyrics, both con- temporary and traditional, and that this oral lan- guage, when supported by written texts and musical enjoyment, can become a valuable resource for read- ing instruction.

One particular type of book, the song picture book, is uniquely well suited for supporting children’s growth in art, music, literature and language. These illustrated versions of song lyrics such as Old MacDonald Had a Farm (Rounds, 1989), The More W e Get Together (Glazer, 1990) and Over the River and Through the Woods (Child, 1974; Gurney, 1992) forge connections between singing and reading and be- tween composing lyrics and writing stories. In this way, song picture books do much to restore the arts to the language arts.

In this article, the authors examine the interrelation- ships between young children’s literacy growth and music development, discuss five specific ways in which song picture books can promote language growth, and suggest activities and materials that will enable early childhood educators to make the best use of song picture books as a resource for an integrated, develop- mentally appropriate curriculum. An exploration of these connections begins with an examination of the similarities between two emerging literacies: literacy in music and literacy with print.

Learning Music and Learning Language ”Today is Monday, today is Monday. Monday, string beans. All you hungry children, come and eat them up . . . ” sang three 4-year-olds as they remembered Eric Carle‘s (1 992) Today is Monday and bustled about the housekeep- ing area. These children had seen, heard and sung this song, making it a part of their musical repertoires. Soon, they were

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inventing their own verses after consulting the weekly lunch menu-Tuesday, pizza; Friday, fish sticks; and so forth. Later, during a nutrition unit, the children identified one healthful foodfor each day of the week, illustrated them all on a roll of white shelfpaper, and sang their song aloud.

Whether a young child is mastering language or learning music, the foundation is the same: enjoy- ment. Just as a young child's inauguration into the world of music is not learning to read musical notation, a young child's introduction to literacy with print is not learning to decode words. Although both types of literacy-musical and language-ultimately depend upon reading abstract symbols, both skills ideally be- gin by immersing the child in the medium.

Whether young children are learning music or learn- ing language, they serve an "apprenticeship" that be- gins by observing competent, enthusiastic role models who take pleasure in story and song. A role model who

obviously enjoys a song or a story elicits a response from the child, enabling him or her to become a confi- dent participant in music and literature. Ultimately, these experiences lead to the child becoming a maker of stories and songs. Like the musician and the lyricist, writers and readers compose (Barclay & Walwer, 1992). Thus, experts recommend that teachers "connect mu- sic with literature as a pathway to expressive, mean- ingful experiences" (Koebler, 1992, p. 96).

Whole language advocates often refer to reading as a "natural" process because, more often than not, it be- gins with "lap reading," rather than as an effort to directly teach isolated language skills (Graves, 1983). The same can be said of music-relaxed, informal sharing of music with a caring adult frequently inaugu- rates the child's love of music (Isenberg & Jalongo, 1997).

When children participate in read aloud /sing aloud sessions with song picture books, they are involved in

authentic, holistic literacy experiences,

Emergent Literacy and Musical Development: Some Similarities

reading: pretending to read favorite book based on

music: familiar text attempting to sing along, pretending to play an instrument

reading: connecting drawing and writing music: connecting music with movement

re

music:

ft to right and top to bottom) beginning to watch musical notation, perceiv- ing patterns (e.g., "stairstep" of the scale)

reading: knowing criti music: learning the basics of musical terminology

(tempo-fast / slow, pitch-high /low, dynam- ics-loud / soft)

reading: recognizing familiar words music: identifying familiar melodies

reading: identifying wor

music: begin with a common initial sound identifying pitches that match, connecting in struments to the sounds they make

Source for signs of emergent literacy: Cunningham & Allington, 199' source for musical development indicators: Jalongo & Stamp, 1997.

Figure 2

- I

rather than task-focused instruction that breaks up reading into discrete skills (Elster, 1994). Figure 1 highlights s i p of emergent reading identified by Cunning- ham and Allington (1994) and summa- rizes the relationship between emergent literacy and musical development.

Song Picture Books and Emergent Literacy Song picture books support emergent literacy by:

w building on familiarity and enjoyment w providing repetition and predictability

expanding vocabulary and knowledge

m promoting critical thinking and prob-

w fostering creative expression and lan-

of story structures

lem solving

guage play.

Familiarity and Enjoyment. As 5- year-old Tamyra browsed through books at the library, she was excited to locate a story that began, "Five little ducks went swim- ming one day. Over the hill and far away . . ." (Beck, 1992) and another that read, "This old man, he played one. H e played knickknack on my drum . . . " (Jones, 1990). "I can already read these!" she announced proudly. Meanwhile, Wendell, a 1st-grader who had been struggling with reading, was thrilled to see on display a picture book version of the popular Dolly Parton song, "Coat of Many Colors" (1994). He told the

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librarian, “ M y dad plays a tape in his truck that has this song on it.“ The following week, Wendell was able to read aloud his first book to the class and share the recorded version of the song.

Most song picture books for young children are illustrated versions of well-known songs, chants and musical fingerplays, both traditional and contempo- rary. By their very nature, these books are keyed to children’s interests, build on prior knowledge and invite young children to sing/read them. Most song picture books use familiarity, rhyme, repetition (e.g., a chorus or refrain) and predictable structures (e.g., colors, days of the week, numbers), thus making these books easier to master than other types of prose (Slaughter, 1993). For all of these reasons, song picture books are particularly appealing and useful in bolstering the beginning reader’s confi- dence (Williams & Davis, 1994).

The book Skip to M y Lou (Westcott, 1989) is a good example. Children appreciate this humorous account of a day when the animals take charge of the farm. The story’s humor, rhyme, rhythm and repetition make this a book that children want to revisit until they are comfortable reading it independently and can share in the delight with someone else. By introducing John McCutcheon’s (1992) recorded version of the song, which contains many original verses, the children can begin to understand how folk songs evolve, as well as try their hand at writing their own original refrain, such as ”Hop, hop, hop to my Lou.”

Repetition and Predictability. A group of pre- kindergartners are listening to their teacher, Eileen Tho-

mas, read Mary Wore Her Red Dress (Peek, 1985). Each verse of the song is followed by the repetitive phrase “all day long. ” The children encounter these same three words 11 times during theprst reading of the book, and soon they are able to participate in a choral reading of the text. When it is Kaylee‘s turn to make an entry in the daily journal, she decides to dictate a sentence about wearing her favorite sweatshirt, one that is screen printed with three cats (see Figure 2).

The repetition in song picture books offers a much more appealing means of practicing words than tradi- tional flash cards or stilted, controlled vocabulary texts. Song picture books give children the opportunity to encounter words repeatedly while developing vocabu- laries in the meaningful context of illustrated pages (Bromley & Jalongo, 1983). Mama Don’t Allow (Hurd, 1984), Jingle Bells (Kovalski, 1988), Old Dan Tucker (Langstaff, 1963), A t the Zoo (Simon, 1991) and The Hokey Pokey (LaPrise, 1997) are other examples of re- petitive song picture books. When emergent readers see printed words in the text again and again, they can begin to identify those words and phrases by their similarities and configuration. Emergent readers who learn Five LittleMonkeys Jumping on the Bed (Christelow, 1989), for instance, can quickly spot the quotation marks and capital letters in the doctor’s statement, “No more monkeys jumping on the bed!”

Children can participate actively in, and enjoy, read- ing experiences long before they are independent read- ers (Elster, 1994), so it is particularly important that they have opportunities to engage in literacy experi- ences that support their role as ”meaning makers” (Wells, 1986). Children as young as 2 can often sing or

recite simple lyrics to favorite songs.

Kaylee’s Original Verse for ”Mary Wore Her Red Dress”

‘ I yellow

Courtesy of Pre-Kindergarten Program, Westside Elementary School, Greater Johnstown School District, PA

Figure 2

Linking these lyrics to illustrations and texts forges important connec- tions among speaking, reading and singing.

Expanding Vocabulary. After some 2nd-graders became familiar with Nadine Bernard Westcott‘s (1990) There’s a Hole in the Bucket, they invented their own version, titled “There‘s a Spider in M y Backpack. ” Figure 3 contains sample pages from the book that these students created.

Song picture books can be useful vocabulary builders. Baby Beluga (Wolff, 1990) offers both beautifully colored illustrations and engaging opportunities for vocabulary growth. The text includes words such as: beluga, sea, swim, heaven, whale, yonder, dolphins, dive, splash, waves and water. The illus- trations also offer possibilities for

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”There’s a Spider in My Backpack’’ (children’s parody of ”There’s a Hole in the Bucket”)

Courtesy of Denise Dragich’s 2nd-graa class, lndiana Area School District, PA

Figure 3

vocabulary growth as children identify walruses, puf- fins, seals, Eskimos, elk, igloos and kayaks. This book easily could be incorporated into a science or social studies lesson focusing on sea life and northern re- gions. It is certainly more interesting than vocabulary lists. Moreover, this approach teaches vocabulary in a meaningful context, supported by concrete representa-

tions of each word through the book‘s illustrations, and supports the goals of multicultural education (Hallworth, 1996; Ho, 1997; Hudson & Hudson, 1995; Soto, 1995).

An understanding of sequence and the rudiments of plot also supports literacy growth. Based upon famil- iarity with the song, the child can more easily predict ”what comes next”-a first step in understanding se-

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quence. Many song picture books contain a clear, se- quential order of events (Barclay & Walwer, 1992). Some songs, like I Know an Old Lady (Karas, 1995) or The Twelve Days of Christmas (Brett, 1986), are cumulative and repeat whatever was mentioned in an earlier verse. The former song repeats the names of the animals that the old lady swallows in reverse order, thus giving children many opportunities to read or sing the events in sequence.

Activities such as making masks, stick puppets or flannel board figures by drawing them on pellon with permanent markers or using scraps of felt all enable the children to retell the story using manipulatives. In the bookFrog Went a-Courtin’(Rojankovsky, 1955)the wed- ding guests are introduced one verse at a time as they arrive bearing gifts for the happy couple. In a lesson involving this book, children could role-play the lyrics, paying attention to the order of arrival, as well as to the animals’ sometimes silly antics.

For children with more advanced literacy skills, song picture books with longer narratives are a rich source of new vocabulary. Some suggested titles include The Fox Went Out on a Chilly Night (Spier, 1961; Watson, 1994), Englebert the Elephant (Paxton, 1990), Abiyoyo (Seeger, 1986), The Teddybears’ Picnic (Kennedy, 1983), Inch by Inch: The Garden Song (Mallet, 1995) and The Jolly Mon (Buffet & Buffet, 1988).

Critical Thinking and Problem Solving. After a kin- dergarten class has sung The Wheels on the Bus (Kovalski, 1987) several times, the teachers ask them to suggest possible titles for an original version of the book. Some of the ones that they recommend are “The Children on the Playground,“ ”The Animals on the Farm” and “The Teachers in the School.” The children create their own big book versions of their song parodies, record them on cassette tape, and, over time, create a lending library of original song picture books.

Just as song picture books offer opportunities for emergent literacy development, they can also act as springboards for a wealth of activities that encourage higher order thinking skills. These activities can en- courage divergent thinking and provide children with meaningful, cognitive challenges. An effective literacy program ”offers a variety of responses and extensions of the literature. Extensions of the stories provide invitations to rethink and reflect and give a chance to linger a bit longer under the spell of a good book (Hoffman, Roser & Battle, 1993, p. 501). Because song picture books encourage active participation, children are usually enthusiastic about extension activities re- lated to these books.

An appropriate extension activity in the primary classroom could be as simple as copying song lyrics onto individual pages so that each child has his or her own book. The children could then illustrate the book, practice reading it and share it with a friend or parent. A similar activity would include copying the lyrics onto

chart paper to be chorally read or sung, and displaying children’s original illustrations nearby. Constructing a corresponding class big book is another appropriate activity. The pages of the song picture book can be reproduced on poster paper and distributed to groups of children for illustration. A class book made up of these pages provides a means for sharing the book in a large group as well as displaying children’s art work.

Another interesting activity that fosters critical think- ing involves comparing / contrasting different versions of the same song using a graphic organizer. The song that begins, ”There were ten in the bed and the little one said, ‘Roll over. Roll over”’ is available in several different picture bookversions (Dale, 1988; Peek, 1981), as is the song that begins, “Over the meadow on a rock in the sun . . .” (Galdone, 1986; Wadsworth, 1985). Figure 4 shows two charts that some 3rd-graders cre- ated to compare different versions of these songs. For more on creating charts with young children, see Bromley, DeVitis and Modlo (1995), Nyberg (1996) and Parks and Black (1992).

Creative Expression and Language Play. A multi-age group of 6-, 7- and 8-year-olds has been listening to show tunes such as “My Favorite Things“ and “Whistle a Happy Tune”(Music for Little People, 1992). Now they arecreating an illustrated mural for each song. Using a computer, the teacher has printed the words, banner-style, and the children are making sketches of the illustrations, using the words as cues. After they have reviewed a rough draft of the entire mural, the children set to work with markers to create an original version of “High Hopes” (Arnold, 1995).

Even if no picture book exists for a song, children can use their own creativity to invent posters, charts and murals. I f You’re Happy and You Know It (Weiss, 1987) is a collection of rebus songs that children can use as models for their original rebus versions of familiar songs. They can also invent books in different for- mats-miniature, lift-the-flap and pop-ups, for example. Pam Adams’s (1973) version of “There Was an Old Lady,” for example, uses cut-outs to show the contents of the old lady’s stomach. Children in the primary grades can use their problem-solving skills to invent a book with moving parts. (For more on constructing these books, see Bauer & Drew, 1992.)

Projects like these may be undertaken individually or accomplished in groups. Some suggestions of appro- priate titles include: “Take Me Out to the Ballgame” and “Octopus’s Garden” (Raffi, 1985), “America the Beautiful,” ”Would You Like To Swing on a Star?” (Muldaur, 1994), and “I’d Like To Teach the World To Sing.” While it is appropriate to give children some ideas for these original song picture books, children should have ample opportunity to suggest their own ideas. Any song that conveys a story and can be represented through illustrations may have the poten-

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Third-graders’ Comparison of Different Versions of ”Over in the Meadow” and ”Ten in the Bed”

OJw T n The &ZL&W‘

I Courtesy of Susan Stitt‘s 3rd-grade class, lndiana Area School District, P A

Figure 4

tial to become a song picture book. It is also possible, of course, for a work that begins as a book to be set to music. One example is Mary Ann Hoberman’s (1978) poem, “A House Is a House for Me.” Fred Penner’s (1989) Collections album includes a musical rendition of this popular poem that is also available in a big book format.

Children can attempt more involved text writing by inventing their own verses to songs and then convert- ing those verses to picture book format (Bromley & Jalongo, 1983). When teaching children to compose their own song lyrics, it is helpful to begin with small alterations to the existing text of a song and build from there into complete parodies. Most 3s and 4s can invent a verse in which the child’s name is the only change, songs such as “Paw Paw Patch.” A slightly more

challenging song is Down by the Bay (Westcott, 1987). In this book, one verse asks “Did you ever see llamas eating. their pajamas, down by the bay?” Children enjoy playing with language to think of their own rhymes and verbs to replace those underlined.

A new type of yellow plastic tape that can be used to highlight words is useful for this purpose. It comes on a roll with a cutter like conventional clear tape, but is transparent yellow, affixes temporarily, and comes in 9/16‘ and 1 7/8‘ widths. You can use this tape to highlight words, then rearrange and reuse. For chil- dren who are familiar with parodies, Tom Glazer’s (1982) ”On Top of Spaghetti,” a parody of “On Top of Old Smokey,” provides a concrete example of a chal- lenging song parody. After children have sung the

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original song, they can participate in singing this hu- morous spin-off, and think of other melodies they know well enough to create new lyrics.

Conclusion In Joining the Literacy Club, Frank Smith (1988) states, “The trick is to find something involving reading and writing that interests the learner and to engage the learner authentically in that area of interest, making the reading and writing incidental” (p. 125). Song picture books certainly meet Smith‘s criterion by pro- viding an opportunity to merge music with literacy development in an authentic and interesting way. Song picture books help childrenexpress their thoughts, stimulate the imagination and teach specific literacy skills. By including this genre of children’s literature in the preschool and primary curriculum, teachers not only facilitate children’s growth in literacy, but also contribute to children’s aesthetic development in art, music, literature and creative writing. For all of these reasons, song picture books are a n important means of helping children to “join the literacy club.”

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Children’s Song Picture Books Adams,P. (1973). Therewasanoldlady. NewYork Child’sPlay. Adams, P. (1975). This old man. New York Child’s Play. Adams,P. (1979). Therewere tenin thebed. NewYork ChildsPlay. Aliki. (1968). Hush little baby. New York Prentice Hall. Aliki. (1974). Go tell Aunt Rhody. New York Maanillan. Aruego, J., &Dewey,A. (1989). Fivelittleducks. NewYork Crown. Aylesworth, J. (1991). Old blackfly. New York Henry Holt. Barbmi, N. (1985). Frog went a-courhn’. New York Scholastic. Baum, S. (1992). Today is Monday. New York HarperCollins. Beck,I. (1992). Fivelittleducks. New York TrumpetBookClub. Bonne, R. (1961). I know an old lady. New York Scholastic. Brett, J. (1986). The twelve days of Christmas. New York

Buffet, J., &Buffet, S. L. (1988). The jolly mon. Fort Worth, TX

Bullock, K. (1993). She‘ll be comin‘ ‘round the mountain. New York

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Christelow, E. (1989). Fiw little monkeys jumping on the bed. New

Conover, C. (1976). Six little ducks. New York Crowell. Dale, P. (1988). Ten in the bed. Martinez, CA: Discovery Toys. Galdone, P. (1986). Over in the meadow. New York Aladdin. Glazer, T. (1990). The more we get together. Forth Worth, TX

Glazer, T. (1982). On top ofspaghetti. New York Doubleday. Gurney, J. S. (1992). Over the river and through the woods. New

York Scholastic. Hague, M. (1992). Twinkle, twinkle little star. New York

Morrow. Hallworth, G. (Ed.). (1996). Down by the river: Afro-Carribean

rhymes, games, and songs for children. New York Scholastic. (Illustrated song collection).

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Putnam & Grosset.

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Coward.

York Trumpet.

Harcourt Brace Jovanovich. (big book)

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Ho, M. (1997). Hush! A Thai lullaby. New York: Orchard.

Hoberman, M. A. (1978). A house is a housefor me. New York: Viking.

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Hurd, T. (1984). Mania don’t alloui. New York: Harper & Row.

Ivmey, J. (1990). T h e e blind mice. Bos- ton: Little, Brown.

Jeffers, S. (1974). All the pretty horses. New York: Scholastic.

Jones, C. (1990). This old man. Boston, MA: Houghton Mifflin.

Jorgensen, G. (1988). Crocodile beat. New York: Aladdin.

Karas, G. B. (1995). I knozu a n old lady. New York: Scholastic.

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Kellogg, S. (1984). There zuas an old woman. New York: Macmillan.

Kennedy, J. (1983). The teddybenrs‘ pic- nic. La Jolla, CA: Green Tiger Press. (includes Bing Crosby’s recording of the song)

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Kovalski, M. (1989). The zuheels on thc bus. New York: Trumpet. (Big book)

La Prise, L. (1997). Tliehokeypokey. New York: Simon & Schuster.

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Langstaff, J. (1974). 011, a-/writing roe will go. New York: Atheneum.

Mallet, D. (1995). Inch by inch: Thegarden song. New York: HarperCollins.

McCarthy, B. (1987). Bicffnlo girls. New York: Crown.

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Parton, D. (1994). Coat of many colors. New York: HarperCollins.

Paxton, T. (1990). Englebert the elephant. New York: Morrow.

Paxton, T. (1993). Anirriols‘lullnby. New York: Morrow.

Pearson, T. C. (1985). Sing a song of sixpence. New York: Dial.

Peek, M. (1981). Ten i n the bed. New York: Clarion.

Peek, M. (1985). Mary zoore her red dress and Henry zciorc hisgreen sneakers. New York: Clarion.

Quackenbush, R. M. (1973). She’ll be

comin’ ‘round the mountain. New York: Lippincott.

Quackenbush, R. M. (1974). Clernentine. New York: Lippincott.

Quackenbush, R. M. (1988). There’ll hen hot time in the old town tonight: The great Chicagofire of1871. New York: Harper.

Rae, M. M. (1988). The farmer in thedell. New York: Viking/Kestrel.

Raffi. (1987). Dozm by the hay. New York: Crown.

Raffi. (1987). Shake my sillies out. New York: Crown.

Raffi. (1988). One light, one sun. New York: Crown.

Raffi. (1989). Everything grozos. New York: Crown.

Reid, B. (1992). Two by tzoo. New York: Scholastic. (includessong “Who Built the Ark?”)

Rojankovsky, F. (1955). Frog went a- courtin’. New York: Scholastic.

Rounds, G. (1967). The boll zoeezd. Golden Gate.

Rounds, G. (1968). Cnsey/ories: Thestory o f a brave engineer. Golden Gate.

Rounds, G. (1973). Sz iwt Betsyfrom Pike. Children’s Press.

Rounds, G. (1989). Old MacDonald had n farm. New York: Holiday House.

Seeger, P. (1986). Abiyoyo. New York: Aladdin.

Seeger, P., & Seeger, C. (1973). Thefoolish frog. New York: Macmillan. (also available on video from Weston, CT: Weston Woods Studies 800-243-5020)

Simon, P. (1991). A t thezoo. New York: Doubleday.

Soto, G. (1995). Theold man and hisdoor. New York: Putnam & Grosset.

Spier, P. (1961). The fox ziient out on a chilly night. New York: Doubleday.

Staines, B. (1989). All God’s crittersgot a place in the choir. New York: Puffin.

Thiele, B., & Weiss, G.D. (1995). W h a t a wonderful zuorld. Littleton, MA: Sundance (big book).

Wadsworth, 0. A. (1985). Over in the meadow. New York: Puffin.

Watson, W. (1994). Fox zuent out on a chilly night. New York: Lothrop, Lee & Shephard.

Weiss, N. (1987). Ifyoic ’re happy and you knozu it. New York: Greenwillow.

Westcott, N. B. (1987). DOZOII by the bay. New York: Crown.

Westcott, N. B. (1987). Peanut butterand jelly: Aplayrhytne. New York: Dutton. (big book version available from Trumpet Book Club)

Westcott, N. B. (1989). Skip to my Lou. New York Trumpet.

Westcott, N. B. (1990). There’s a hole i n t h e b u c k e t . N e w York: HarperCollins.

Winter, J. (1988). Follow the drinking gourd. New York: Knopf.

Wolff, A. (1990). Baby Beluga. New York: Crown.

Zelinsky, P. 0. (1990). The wheels on the bus. New York: Dutton. (pop-up book)

Recordings Arnold, L. (1995). High hopes. On Sing

along steul. Hollywood, CA: A & M Records.

McCutcheon, J. (1992). Skip to my Lou. On A child’s celebration of song. Redway, CA: Music for Little People.

Muldaur, M. (1994). Would you like to swing on a star? On Music for little people sampler: A joyful collection of songsfroni around the uiorld. Redway, CA: Music for Little People.

Music for Little People. (1992). My favorite things and Whistle a happy tune. On A child’s celebration ofshozo tunes. Redway, CA: Author.

Penner, F. (1989). A house is a house for me. Collections. Hollywood, CA: A&M Records.

Raffi. (1985). Octopus’s garden and Take me out to the ballgame. On One light, onesun. Hollywood, CA: A&M Records.

RESOURCES

For recordings: Music for Little People P.O. Box 1460, Redway, CA 95560 800-727-2233

Educational Record Center 3233 Burnt Mill Drive, Ste. 100 Wilmington, NC 28403-2655 800-438-1637

Source for highlighting tape Crystal Springs Books Ten Sharon Rd. P.O. Box 500 Peterborough, NH 03458-0500 800-321-0401

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