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Week Two (Music & Matter) Page
Electives Week of April 20th to April 26th Core Classes Mrs. Krohn: 7th Grade ELA CCSS.ELA-LITERACY.W.7.1.B
Writing: Support a Claim with Logical Reasoning Pages 5
Choice Book: 20 minutes a day (100 min/week) M T W T F
Mr. Harner: Construction
Building a Deck Pages 1 8 & 1 9 Quiz Page 2 0
Mrs. Dayton: 7th Grade Science PS1.A: Structure and properties of matter
Read Matter & It’s Interactions: What is Matter page 6
Essential Questions & Create a list of descriptive words page 1 1
Ms. Peters: Choir Class
Listening & Critical Response to Music Page 1 5 __________ /25
Mr. Brewton: World History C2.6-8. 2 Distinguish the structure...government
Civics Review: 50 questions pages 8 & 9
How many were you able to complete?_________________ / 50
Ms. Weaver: Art Class
Stitched Agamograph pages 2 1 & 2 2
Mrs. Falla: 7th Grade Math 6.RP.A.3
Application Task: Using Ratios to Solve Real World Problems pages 1 2 & 1 3
Choice Math: 20 minutes a day (100 min/week) M T W T F
Mrs. Folkers: Leadership
Have a Great Week!
Ms. Pumphrey: Health & Mr. Pelan: PE
The Circulatory System pages 1 6 & 1 7
Daily Workout: Dynamic, Cardio and Cross Fit page 2 0 M T W T F
Mr. White: Band Classes
Mozart & More Page 1 4
M T W T F
Check in daily
with your
homeroom
teacher.
Your teachers have put together a learning opportunity for you. Read the provided
Music and Matter texts and then complete each of the tasks shared by your
teachers. If you have a paper copy, you can write answers in the packet, but if you
are seeing this electronically put all answers in a journal.
Questions? Teachers can be e-mailed for help and feedback.
mailto:[email protected]?subject=Week%20One%20mailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20Onemailto:[email protected]?subject=Week%20One
Week Two (Music & Matter) Page 2
Music Is a Potent Source of Meaning Pacific Standard
(Photo: Jose Oller/Flickr)
The source of music's power has long been debated, with
many psychologists concluding its primary benefit is emo-
tional regulation (that is, stress reduction or relaxation). For
many of us, that has always seemed awfully
reductive—Beethoven would no doubt respond with some
dissonant, dissenting chords—and recently published
research suggests we may be right.
An exploratory study finds emotion regulation may
be "a secondary outcome of music listening," write
psychologists Jenny Groarke and Michael Hogan of the
National University of Ireland in Galway. Rather, the
"fundamental drivers" of our thirst for music appear to be
the intense emotions a given melody produces, the way it
facilitates reminiscing, and—as we age—its ability to
produce transcendent experiences.
OLDER PEOPLE ARE MORE INTERESTED IN MUSIC AS AN IN-
TENSE, INNER EXPERIENCE, WHILE YOUNGER ONES VIEW IT
AS A WAY OF ESCAPING BAD MOODS AND CONNECTING
TOM JACOBS
UPDATED: JUN 14, 2017 ORIGINAL: AUG 20, 2015 BUT NEW RESEARCH FINDS YOUNGER AND OLDER PEOPLE
LARGELY LISTEN FOR DIFFERENT REASONS.
Music," wrote Ludwig van Beethoven, "is a higher revelation
than all wisdom and philosophy." Granted, as a composer,
Beethoven wasn't exactly an objective observer. But for
most of us, music is still the art form we turn to most fre-
quently, and the one that gives us the greatest satisfaction.
https://hoquiamschoolwa.springboardonline.org/ebook/
Week Two (Music & Matter) Page 3
Music Is a Potent Source of Meaning PACIFIC STANDARD
WITH FRIENDS.
In the journal Psychology of Music, Groarke and Hogan
report older and younger people tend to express different
ideas when asked why they listen to music. While the
responses of four groups of participants—two featuring
people under 30, and two composed of those over 60—
were predictably wide-ranging, the researchers found
some distinct patterns.
For younger adults, social connection is a strong compo-
nent of music listening; you bond with your peers over
your choice in tunes. By one measure, this consideration
placed second only to "mood improvement." (This finding
aligns nicely with the theory that music originally devel-
oped as a source of social cohesion.)
But that aspect of listening was far less important to older
adults, who largely looked at music as therapeutic—a
source of meaning and personal growth. While some
younger participants did refer to music's ability to provide
them with a private "personal space," the bulk of the re-
sponses suggest older people are more interested in mu-
sic as an intense, inner experience, while younger ones
view it as a way of escaping bad moods and connecting
with friends.
Using advertisements, Groarke and Hogan recruited vol-
unteers to participate in four discussion groups, two of
which featured music lovers between the age of 18 and
30 (24 in total), while the other two consisted of seniors
ages 60 to 85 (19 in total).
The sessions began with the question "Why do you listen
to music?," which was followed by a period of reflection, a
detailed discussion of the ideas it generated, and a voting
process in which participants selected five benefits of mu-
sic listening that "they believed were most significant for
enhancing well-being." The winners were then analyzed
by a computer program that determined how they related
to one another, and clarified the responses by folding
them into a structural model.
Not surprisingly, the researchers found "affect regula-
tion"—that is, relaxation or stress reduction—was "a com-
mon and highly endorsed function of music listening by
both older and younger adults." However, rather than a
primary reason for turning on that CD player or streaming
Week Two (Music & Matter) Page 4
Music Is a Potent Source of Meaning PACIFIC STANDARD
service, affect regulation was largely seen as a side benefit
that was "enhanced by other music listening functions."
"A greater proportion of younger adults considered social
connection through music listening as significant for their
well-being," the researchers write. "Younger adults consid-
ered social connection an important antecedent of
(emotion) regulation and mood improvement."
THE IDEA THAT MUSIC CAN INSPIRE PERSONAL GROWTH
OR BE OTHERWISE THERAPEUTIC WAS ENDORSED FAR
MORE AMONG THE STUDY'S OLDER PARTICIPANTS.
"Paradoxically, younger adults also endorsed the use of
music to avoid social connection, highlighting how music
can be used to create a private space," they add. "It may be
that young adults are using music to counteract the stress-
es of their more active social lives, while older adults are
using music to compensate for and regulate feelings of so-
cial isolation."
Both groups felt the power of music to evoke reminiscing
was important, but for somewhat different reasons. Younger
adults saw it as a double-edged sword, distinguishing be-
tween "spontaneous, purposeful, positive, and less-
adaptive reminiscing, such as reliving painful memories by
listening to 'break-up' songs." Older adults, in contrast,
viewed music-inspired reminiscing as a positive influencer
on personal growth.
Indeed, the idea that music can inspire personal growth or
be otherwise therapeutic was endorsed far more among
the study's older participants. Many also spoke of music in
terms of transcendence, and as meditative—ideas that did
not reach the younger participants' radar screens.
This all suggests music retains its importance as we move
through life, but the benefits it provides shift somewhat as
we age. To again quote Beethoven, "Music is the mediator
between the spiritual and the sensual life"—the sensual life
of the young, and the spiritual concerns of those who are
facing the fact that their days are limited.
Findings is a daily column by Pacific Standard staff writer Tom Jacobs, who scours the psychological-research journals to discover new in-sights into human behavior, ranging from the origins of our political beliefs to the cultivation of creativity.
Week Two (Music & Matter) Page 5
(use additional paper to complete writing)
M r s . K r o h n ’ s E L A C l a s s
Writing Prompt Tom Jacobs writes that “music retains its importance
as we move through life, but the benefits it provides shift somewhat as we age”
(paragraph 16, “This all suggests…). What does the author say about the importance of music to young people? What role or roles does it play? Do you agree? Take a stance on whether or not you agree with Jacobs’ argument about the way young people use music. Use sound reasoning to support your opinion.
J K r o h n @ h o q u i a m . n e t
F o r F e e d b a c k - P h o t o o r T y p e
Music Is a Potent Source of Meaning
According to the article, what is the primary difference between the reasons that older and younger adults listen to music? Neither group had specific reasons for their listening habits.
Both groups listen to music for the same reasons but experience it
differently.
Older adults see music as a reminder of youth, while young adults
use music to rebel.
Young adults use music to connect socially, while older adults use
music to reminisce.
The term “affect regulation” refers to how a person can use music to seek transcendence.
the way music can influence emotions.
why older adults listened to music in order to boost their mood.
a way to connect with the community through shared musical
experiences.
With which statement would the author most likely agree? [For your prediction, write down several of the author's key arguments. This will help you identify an answer choice that fits within the author's viewpoint.] The versatility of music’s power proves its universal importance.
The way young people interact with music affects their spiritual
growth.
Our fundamental drive toward music stems from a desire to be-
long.
Music loses its power as people age and become
more introspective.
Week Two (Music & Matter) Page 6
Week Two (Music & Matter) Page 7
Read: “What is Matter?”
Matter:
Substances that make up the universe.
All matter has mass and volume.
M r s . D a y t o n ’ s P h y s i c a l S c i e n c e C l a s s N D a y t o n @ h o q u i a m . n e t
Look around you and think about what you see.
Think about the objects you touch and the air you
breathe. Did you ever stop to think, what is all that
stuff made of?
Essential Question: What do you know about matter?
(use additional paper to complete writing)
Matter exists commonly in a liquid, a solid or a gas
state. Temperature causes matter to change from one
state to another.
Create a list of words that describe matter in all its forms.
Use words like colors, shapes, weight (heavy) and density.
Week Two (Music & Matter) Page 8
M r . B r e w t o n ’ s H i s t o r y C l a s s
Wri
te t
he c
orre
ct
an
swer
on
th
e l
ine p
rovid
ed
to t
he r
igh
t of
the q
uest
ion
.
Last
na
mes
of
peop
le a
re a
cce
pta
ble
. S
pell
ing d
oes
not
cou
nt.
1. H
ow
man
y a
men
dm
en
ts d
oes
the C
on
stit
uti
on
have?_____
2. W
e e
lect
a U
.S. S
en
ato
r f
or h
ow
ma
ny
years?
_____
3. W
e e
lect
a P
resi
den
t fo
r h
ow
man
y y
ears?
_____
4. W
hat
is t
he m
axim
um
am
ou
nt
of
years
a p
resi
den
t can
serve?_____
5. W
hat
is t
he n
am
e o
f th
e P
resi
den
t of
the U
nit
ed
Sta
tes
now
?________________________
6. W
ho w
as
the f
irst
Presi
den
t u
nd
er t
he C
on
stit
uti
on
?_____________________
_________
7. W
hat
date
did
th
e W
orld
Tra
de C
en
ter g
et
att
ack
ed
?____________________
__________
8. W
ho w
as
the P
resi
den
t w
hen
th
e W
orld
Tra
de C
en
ter w
as
att
ack
ed
?______
___________
9. W
hat
is c
urren
t p
osi
tion
held
by
Mik
e P
en
ce?_____________________________________
10. If
th
e P
resi
den
t can
no l
on
ger s
erve, w
ho b
ecom
es
Presi
den
t?____________
___________
11. W
hat
do w
e c
all
th
e f
irst
ten
am
en
dm
en
ts t
o t
he C
on
stit
uti
on
?___________
___________
12. W
hat
was
on
part
of
the F
irst
Am
en
dm
en
t?___________________________
__________
13. W
hat
was
the p
urp
ose
of
the D
ecla
rati
on
of
Ind
ep
en
den
ce?______________
__________
14. W
hat
is o
ne p
urp
ose
of
the U
.S. C
on
stit
uti
on
?__________________________
_________
15. N
am
e o
ne s
tate
th
at
bord
ers
Can
ad
a___________________________________________
16. N
am
e o
ne s
tate
th
at
bord
ers
Mexic
o____________________________________________
17. W
hat
is t
he c
ap
ital
of
the U
nit
ed
Sta
tes?
________________________________________
18. W
hat
is t
he n
am
e o
f th
e n
ati
on
al
an
them
?_____________________________
__________
19. W
hen
do w
e c
ele
brate
In
dep
en
den
ce D
ay
?______________________________________
20. H
ow
man
y s
tars
does
the f
lag h
ave?
_____
21. W
here i
s th
e S
tatu
e o
f L
iberty
?________________________________________________
22. W
ho w
as
Presi
den
t d
urin
g t
he C
ivil
War?_______________________________________
23. W
hen
was
the C
on
stit
uti
on
writ
ten
?____________________________________________
24. W
hen
was
the D
ecl
arati
on
of
Ind
ep
en
den
ce a
dop
ted
?___________________
__________
J B r e w t o n @ h o q u i a m . n e t
Week Two (Music & Matter) Page 9
M r . B r e w t o n ’ s H i s t o r y C l a s s
25. W
ho w
rote
th
e D
ecla
rati
on
of
Ind
ep
en
den
ce?__________________________
__________
26. W
hen
mu
st a
ll m
en
regis
ter f
or t
he S
ele
cti
ve S
ervic
e?_____
27. H
ow
old
do c
itiz
en
s h
ave t
o b
e t
o v
ote
for P
resi
den
t?_____
28. N
am
e o
ne s
tate
th
at
bord
ers
the P
aci
fic O
cean
___________________________________
29. W
hat
Ocean
is
on
th
e E
ast
Coast
of
the U
nit
ed
Sta
tes?
__________________
__________
30. H
ow
man
y U
.S. S
en
ato
rs
are t
here?_____
31. W
e e
lect
a U
.S. R
ep
rese
nta
tive f
or h
ow
ma
ny
years?
_____
32. In
wh
at
mon
th d
o w
e v
ote
for P
resi
den
t?_____________________________
___________
33. O
n w
hat
day
do w
e a
lway
s vote
for P
resi
den
t?___________________________________
34. W
hat
is t
he s
yst
em
of
Presi
den
tial
Ele
cti
on
call
ed
?________________________________
35. W
hat
is t
he h
igh
est
cou
rt
in t
he U
nit
ed
Sta
tes?
_________________________
__________
36. H
ow
man
y j
ust
ices
are o
n t
he S
up
rem
e C
ou
rt?
________________________
___________
37. H
ow
man
y P
resi
den
ts h
ave b
een
im
pea
ch
ed
?_____
38. H
ow
man
y p
resi
den
ts h
ave t
here b
een
?_____
39. W
hat
are t
he t
wo m
ajo
r p
oli
tical
pa
rti
es
in t
he U
nit
ed
Sta
tes?
____________
__________
40. N
am
e o
ne o
ther p
oli
tical
party
in
th
e U
nit
ed
Sta
tes_
____________________
__________
41. A
presi
den
t is
nom
inate
d b
y i
ts p
arty
in
th
e p
arty
’s_______________________________
42. W
hat
nu
mb
er a
men
dm
en
t gave w
om
en
th
e r
igh
t to
vote
?__________________________
43. W
hat
year w
as
the C
hic
ago W
orld
’s F
air
?_____
44. W
hat
is t
he a
cti
on
a p
resi
den
t can
ta
ke t
o o
verru
le c
on
gress
?____________
___________
45. W
hat
cou
ntr
y w
as
the U
nit
ed
Sta
tes
prim
aril
y a
gain
st i
n W
WII
?_________
__________
46. W
hat
is a
noth
er n
am
e f
or J
un
e 6
, 1944?________________________________________
47. W
ho r
an
again
st B
arack
Ob
am
a i
n t
he 2
012 E
lecti
on
?____________________________
48. W
ho i
s th
e e
lecte
d l
ead
er o
f a s
tate
legis
latu
re?___________________________________
49. W
hat
is t
he n
am
e o
f th
e P
resi
den
t’s
ad
vis
ors?
__________________________
__________
50. W
hat
is t
he n
am
e o
f th
e f
igh
tin
g f
orce t
hat
use
s sh
ips?
__________________
__________
J B r e w t o n @ h o q u i a m . n e t
Week Two (Music & Matter) Page 10
Understanding the
Mathematics of a Piano
Two notes sound good together if their
sound waves arrive at the ear at the
same time, creating simple harmonic
patterns. For example, high C and middle
C sound good together because they
form an octave pattern, with every sec-
ond high C wave arriving at the ear at
the same time as one middle C wave.
Therefore, an octave pattern forms a fre-
quency ratio of 2 : 1.
In contrast, two notes sound bad togeth-
er if most of their sound waves do not ar-
rive at the ear at the same time, forming
complicated dissonant patterns. For in-
stance, every tenth high C wave arrives
at the ear at the same time as every
ninth B wave, so they form a more com-
plex frequency ratio of 10 : 9.
C o u r t e s y o f V i b r a t i o n D a t a
https://youtu.be/BmIVJ-u7iDUhttp://www.vibrationdata.com/tutorials2/piano.pdf
Week Two (Music & Matter) Page 11
Understanding the Mathematics of a Piano
Week Two (Music & Matter) Page 12
[email protected] M r s . F a l l a ’ s M a t h C l a s s
11
Week Two (Music & Matter) Page 13
M r s . F a l l a ’ s M a t h C l a s s
Explain It! Explain how you used proportional
relationships to solve a real-world problem of finding notes that sound good together when played on a piano.
Make sure to include what information you need to tell if the proportional relationships between notes will make them sound good together?
Week Two (Music & Matter) Page 14
M
r. W
hit
e:
We
ek
Tw
o 7
th G
rad
e B
an
d A
cti
vit
ies
Ap
ril 2
0.
Kee
p p
layin
g w
hile
aw
ay f
rom
scho
ol kid
dos!
.
Cho
ose
thin
gs fro
m t
he
bo
ok a
nd w
eb
site
belo
w t
o p
lay a
nd
wo
rk o
n.
If y
ou
ha
ve
qu
estio
ns o
r w
an
t to
sh
are
yo
ur
pla
yin
g w
ith
me
ple
ase
em
ail
me
rw
hite
@h
oqu
iam
.ne
t.
OF
FL
INE
OP
PO
RT
UN
ITIE
S
Yo
ur
Da
ily R
ou
tin
e:
Pla
y w
ith
Pu
rpo
se
(+
/- 2
0 M
inu
tes
)
Warm
Up &
Fund
am
enta
ls:
Bre
ath
ing,
Ton
e B
uild
er,
Ton
gu
ing.
(3-5
min
ute
s)
Pla
y f
or
Enjo
ym
ent:
Your
old
favori
tes.
(3-5
min
ute
s)
Pra
ctice S
kill
Im
pro
vem
ent:
Rhyth
m (
cou
nt-
cla
p-s
ing),
Pla
yin
g F
luency,
(tem
po,
fing
er
patt
ern
s,
art
icula
tion)
(10 m
inute
s)
Pla
y f
or
Enjo
ym
ent:
Your
new
er
favorite
s.
(3-5
min
ute
s)
7th
Gra
de
Ba
nd
Sk
ill
Bu
ild
ers
an
d T
un
es
To
Pla
y (
Essen
tia
l E
lem
en
ts B
oo
k 1
)
Pa
y a
tte
ntio
n to
th
e y
ello
w b
ox in
form
atio
n:
Ch
oo
se
2-3
fro
m e
ac
h o
f th
e f
oll
ow
ing
.
Warm
Up &
Fundam
enta
ls: B
k 2
: #
s 2
0,
21,
22.
Bk
1 #
s 8
6, 87, 147.
Old
ies f
or
Enjo
yment:
Bk 1
: #s 9
0,
91,
106,
118,
Skill
Im
pro
vem
ent: B
k 1
#s 1
59, 174, 181, 179,
pg 4
0,
- K
ey
of
Bb.
Pla
y fo
r E
njo
yment:
Your
favorite
s f
rom
books 1
and 2
. P
ER
FO
RM
AN
CE
SK
ILL
DE
VE
LO
PM
EN
T (
An
ch
or
Sta
nd
ard
5.
MU
:Pr
5.1
.7)
Rh
yth
m T
arg
et:
Be a
ble
to
cla
p,
co
un
t, s
ing
an
d p
lay S
yn
co
pati
on
.
Revie
w p
g. 9, # 4
0 &
11:
Cla
p &
count, p
oin
t &
sin
g s
ylla
ble
s t
hen p
lay.
Apply
you
r cla
p-c
ount-
sin
g s
kill
s to #
43, G
rand O
ld F
lag,
then p
lay.
No
tes/F
ing
eri
ng
Targ
ets
: B
e a
ble
to
flu
en
tly p
lay C
on
cert
Ab
Scale
Revie
w K
ey
Sig
natu
re,
note
nam
es a
nd fin
gerings for
exerc
ise #
171 o
n p
age 3
6. (L
ow
er
octa
ve)
Apply
music
readin
g s
kill
s (
rhyt
hm
& f
ingerings)
to p
lay
exerc
ise s
low
ly,
then b
uild
flu
ency.
C
RE
AT
E/C
OM
PO
SE
SK
ILL
DE
VE
LO
PM
EN
T (
An
ch
or
Sta
nd
ard
1.
MU
:Cr1
.1.7
) T
hin
k L
ike M
ozart
and C
reate
Variations o
n the f
am
iliar
them
e m
elo
dy,
Yankee D
oodle
. (A
lso s
ee o
nlin
e o
pport
unity
be
low
.)
1.
Revie
w &
Pla
y b
oo
k 1
, # 9
0 –
Vari
ati
on
s o
n a
Fa
milia
r T
hem
e.
No
tice h
ow
th
e t
un
e w
as ‘
vari
ed
’ tw
ice
by
changin
g r
hyt
hm
and a
ddin
g n
ote
s.
2.
Pla
y t
hro
ug
h b
oo
k 2
, # 3
5 –
Yan
kee D
oo
dle
. E
xp
eri
men
t w
ith
ch
an
gin
g t
he r
hyth
m a
nd
ad
din
g n
ote
s t
o c
rea
te
1 o
r 2 o
f yo
ur
ow
n v
ariations o
f th
e o
rigin
al tu
ne. S
tart
sim
ply
, be p
atient
and p
ers
ist until yo
u f
igure
som
eth
ing
out th
at
makes m
usic
al sense.
3.
Reh
ears
e t
he o
rig
ina
l th
em
e a
nd
yo
ur
vari
ati
on
(s)
un
til fl
uen
t th
en
perf
orm
fo
r a f
rien
d o
r fa
mily
mem
be
r, o
r re
cord
and e
it to m
e.
ON
LIN
E O
PP
OR
TU
NIT
IES
L
iste
n a
nd
Res
po
nd
to
a P
erf
orm
an
ce:
Co
mm
en
t o
n m
oo
ds,
feelin
gs a
nd
mu
sic
al ele
men
ts y
ou
hear.
M
ozart
wro
te 1
2 v
ariations o
n T
win
kle
, T
win
kle
Little S
tar,
each w
ith v
ery
dis
tinct sty
les, te
mpo,
rhyt
hm
, m
oods o
r ch
ara
cte
r.
Thre
e Y
outu
be v
ers
ions p
resent
diffe
rent
perf
orm
ance f
orm
ats
: O
ne p
laye
d b
y a t
eenage g
irl, a
noth
er
show
ing t
he p
iano p
lay-
ers
hands w
ith g
raphic
nota
tion,
and a
third w
ith g
raphic
nota
tion o
nly
.
Youtu
be L
inks:
1-
girl pla
ying h
ttp
s://
ww
w.y
ou
tub
e.co
m/w
atch
?v=E
zvj-
De6
bxY
2-
pia
no h
ands h
ttp
s://
ww
w.y
ou
tub
e.co
m/w
atch
?v=h
CK
Bl-
TpR
zc
3-
gra
phic
nota
tion h
ttp
s://
ww
w.y
ou
tub
e.co
m/w
atch
?v=
-zU
mLU
W_g
Gw
1.
Pic
k o
ne (
or
mo
re)
of
the v
ideo
s t
o l
iste
n a
nd
watc
h.
Nu
mb
er
the lin
es o
n a
sh
eet
of
pap
er
fro
m 1
-12.
2.
As y
ou lis
ten,
pay
att
ention t
o e
ach d
iffe
rent
variation
and h
ow
it sounds c
om
pare
d t
o t
he o
thers
. 3.
Write
a b
rief com
ment
on t
he m
ood, fe
elin
g, m
usic
al changes o
r w
hat com
es t
o m
ind f
or
each o
f th
e 1
2 v
aria
tio
ns.
4.
(Optional) F
ind s
om
eone e
lse to d
o t
he s
am
e a
ctivity
and c
om
pare
your
observ
ations w
ith theirs.
V
ISIT
On
e S
ize F
its A
ll B
an
d B
oo
ks
ON
LIN
E F
RE
E B
AN
D M
US
IC W
EB
SIT
E ‘O
SF
AB
’ h
ttp://w
ww
.osfa
bb.c
om
/
Searc
h t
o V
iew
and/o
r P
rint tu
nes a
t a v
ariety
of
levels
for
each instr
um
ent. It
als
o h
as s
am
ple
record
ings a
nd b
ackg
rou
nd
in
fo
on s
om
e s
ongs.
To
Navig
ate
th
e S
ite
1.
Hom
e P
age: choo
se
Fre
e B
and M
usic
ta
b n
ea
r to
p.
2.
This
bri
ng
s u
p a
tab
le w
ith A
lphab
etica
l M
usic
By T
itle
3.
Clic
k o
n R
ating to
sort
the m
usic
by le
ve
l.
4.
Clic
k to c
hoo
se a
so
ng
at
yo
ur
leve
l. B
eg
inne
rs s
ho
uld
sta
rt a
t .5
5.
On t
he s
ong p
age:
a.
Sele
ct
yo
ur
instr
um
ent
b.
There
may b
e a
n M
P3 r
ecord
ing to lis
ten to y
our
so
ng (
left
, bottom
) c.
There
may b
e p
layin
g t
ips a
nd b
ackgro
und info
rmatio
n (
left
sid
e)
6.
When y
ou s
ele
ct
yo
ur
instr
um
ent
a w
indow
with a
duet a
ppears
. U
se
the f
ull
scre
en, +
and -
butt
ons to e
nla
rge.
Yo
u c
an a
lso d
ow
n-
loa
d o
r pri
nt.
7.
Read
y,
set P
LA
Y
Ex
plo
re t
itle
s o
n y
ou
r o
wn
. R
em
em
be
r yo
u c
an
lis
ten
an
d p
lay a
lon
g w
ith
an
MP
3 v
ers
ion
of
mo
st
so
ng
s.
mailto:[email protected]?subject=Week%20Twohttps://youtu.be/Ezvj-De6bxYhttps://youtu.be/hCKBl-TpRzchttps://youtu.be/-zUmLUW_gGwhttp://www.osfabb.com/
Week Two (Music & Matter) Page 15
Ms
. P
et
er
s’ C
ho
ir
C
la
ss
S
Pe
te
rs
@h
oq
uia
m.n
et
Lis
ten
ing
& C
riti
cal R
esp
on
ses
to M
usi
c
Dev
elop
ing
a c
olle
ctiv
e w
isd
om a
rou
nd
a p
iece
of m
usi
c by
sh
ari
ng
an
ob
serv
ati
on.
SHO
W Y
OU
R T
HIN
KIN
G.
(5 p
oin
ts p
er r
esp
onse
- A
min
imu
m o
f 5
sen
ten
ces
per
res
pon
se is
req
uir
ed f
or 5
poi
nts
. 5 Q
ues
tion
s. )
Ch
oo
se a
nd
Lis
ten
to
ON
E o
f th
e fo
llow
ing
Mu
sic
cho
ices
on
Yo
utu
be:
This
is M
e (c
ho
ir v
ersi
on
) h
ttp
s://
you
tu.b
e/kr
e-L
ci2
6bY
Love
ly (
cho
ir v
ersi
on
) h
ttp
s://
you
tu.b
e/a5
ZcQ
Rw
EUO
E
A T
ho
usa
nd
Yea
rs (
Ch
risti
na
Per
ri &
PS2
2 ch
oir
ver
sio
n)
htt
ps:
//yo
utu
.be/
tvV
1IO
Am
zYw
*IF
you
can
no
t fi
nd
th
ese
YOU
TUB
E ve
rsio
ns,
pic
k O
NE
son
g o
n t
he
rad
io t
hat
has
so
ng
lyri
cs t
hat
giv
e yo
u
a ST
RO
NG
mes
sage
of
ho
pe
or
love
an
d u
se t
hat
to
an
swe
r th
e fo
llow
ing
qu
esti
on
s. B
e su
re t
o le
t m
e kn
ow
yo
ur
son
g ch
oic
e…
B
E SU
RE
TO S
ING
ALO
NG
IF Y
OU
CA
N…
.
SON
G C
HO
ICE:
__
____
____
___
____
____
____
____
____
____
____
___
____
____
____
___
____
____
____
___
1.
Wh
at d
o y
ou
no
tice
ab
ou
t th
e so
ng?
(o
bse
rvati
on
s in
th
e m
usi
c)-
Just
gen
eral
INTE
RES
TIN
G T
HIN
GS…
2.
Wh
at d
oes
th
e m
usi
c re
min
d y
ou
of?
–(
Ther
e is
NO
WR
ON
G A
NSW
ER)
(a m
emo
ry, a
n e
xper
ien
ce, a
sto
ry?
Do
es it
tri
gger
so
met
hin
g?)
3.
Wh
at e
mo
tio
ns
do
yo
u f
eel w
hen
yo
u li
sten
to
th
e so
ng?
4.
Wh
at q
ues
tio
ns
do
es t
he
son
g ra
ise
in y
ou
r m
ind
?
5.
Wh
at m
ean
ing
or
un
der
stan
din
g is
co
nve
yed
in t
his
so
ng?
(W
hat
is t
his
so
ng
abo
ut)
Use
ad
dit
ion
al p
ap
er t
o a
dd
to
you
r re
spo
nse
if n
eed
ed…
https://youtu.be/kre-Lci26bYhttps://youtu.be/a5ZcQRwEUOEhttps://youtu.be/tvV1IOAmzYw
Week Two (Music & Matter) Page 16
Term Meaning
Circulatory
system The body system responsible for carrying blood, nutrients, and waste throughout the body
Cardiac Related to the heart
Pulmonary Related to the lungs
Artery Blood vessel that moves blood away from the heart
Vein Blood vessel that moves blood toward the heart
Aorta Major artery that carries blood to the systemic circulatory system
Capillary Small blood vessel that allows nutrient ex-change
Atrium Upper chamber of the heart
Ventricle Lower chamber of the heart
Diagram showing the flow of blood from the heart to the rest of the human body.
Image credit: Blood flow from the heart by OpenStax, CC BY 4.0
Diagram labeling the major arteries (red) and veins (blue) in the human body
Image credit: Arteries and veins of the body by OpenStax, CC BY 4.0
The main artery of the systemic circuit is the aorta which branches out into other
arteries, carrying blood to different parts of the body.
https://cnx.org/contents/[email protected]:xuaYcQPd@3/Circulatory-and-Respiratory-Syhttp://creativecommons.org/licenses/by/4.0/https://cnx.org/contents/[email protected]:xuaYcQPd@3/Circulatory-and-Respiratory-Syhttp://creativecommons.org/licenses/by/4.0/
Week Two (Music & Matter) Page 17
(use additional paper to complete writing)
M s . P u m p h r e y ’ s H e a l t h C l a s s
Writing Prompt Make a story using 5 of the 9 key terms. Use the
information from the reading to help you. This will replace any poor grades or missing grades in
skyward (Circulatory and heart (4 assignments in skyward)- coloring’s and HW’s)
M P u m p h r e y @ h o q u i a m . n e t
The Circulatory System
The circulatory system The circulatory system is a network consisting of blood, blood vessels, and the heart. This network supplies tissues in the body with oxygen and other nutrients, transports hormones, and removes unnecessary waste products.
The heart The heart is made of specialized cardiac muscle tissue that allows it to act as a pump within the circulatory system. The human heart is divided into four chambers. There are one atrium and one ventricle on each side of the heart. The atria receive blood and the ventricles pump blood. The human circulatory system consists of several circuits:
The pulmonary circuit provides blood flow between the heart and lungs.
The systemic circuit allows blood to flow to and from the rest of the body.
The coronary circuit strictly provides blood to the heart (not pictured in the figure on page 16).
Blood and blood vessels Blood from the heart is pumped throughout the body using blood vessels. Arteries carry blood away from the heart and into capillaries, providing oxygen (and other nutrients) to tissue and cells. Once oxygen is removed, the blood travels back to the lungs, where it is re-oxygenated and returned by veins to the heart.
Common mistakes and misconceptions Arteries usually carry oxygenated blood and veins usually carry de-oxygenated blood. This is true most of the time. However, the pulmo-nary arteries and veins are an exception to this rule. Pulmonary veins car-ry oxygenated blood towards the heart and the pulmonary arteries carry deoxygenated blood away from the heart. Blood is always red. Veins can appear blue as we see them through our skin, leading some people to believe that deoxygenated blood is blue. However, this is not the case! Blood only appears blue because of the way tissues absorb light and our eyes see color. Although oxygen does have an effect on the brightness of the blood (more oxygen makes a brighter red, less makes it darker), blood is never actually blue.
Week Two (Music & Matter) Page 18
M r . H a r n e r ’ s C o n s t r u c t i o n M a t h C l a s s D H a r n e r @ h o q u i a m . n e t
Overview Earlier this year, the 1st year students built their own scale model decks by drawing a blueprint and using it as an instruction sheet to complete their project. At the same time, the advanced students were starting their scale model homes, (you built your decks last year). For this assignment, we are all going to read about building an actual deck and learn about the terms and materials needed to do the project. We are going to look at how to make a lumber list by measuring the length, width and height of the deck so we will know how much and what types of lumber we will need and where it will go on the project. I will also include a price chart to figure out your costs so we can see how much you would need to save up to do your project. Throughout this process, I will have some illustrations to help you see what the deck will look like and how/where the pieces fit.
Assignment Part One Read about the deck and all of its terms. Understand how and where these terms will apply. At the end of this assignment, answer the questions using this paper. Next week’s lesson will be on the deck size, the type and cost of the lumber to use, how much weight your deck will hold and how to sketch it out and build it.
The Deck Enjoying your deck on a beautiful summer day is the perfect way to entertain guests outside or just unwind and relax. And while it’s important to have a deck that’s aes-thetically pleasing to you, the most vital part about your deck is making sure it’s struc-turally sound. That includes knowing the difference between a joist and a rim joist and what purpose they serve to your deck and its functionality and safety. One of the single biggest problems within deck building starts at the beginning of the process. Many do-it-yourselfers think they can throw up a few boards and call it a deck without consider-ing local building codes, weight loads, proper joist framing, planking, support, footings and railings. A deck needs to be safe and must support the weight of the people and furniture on it. This requires a deck design custom-configured to the space where the deck will be. The design must meet with local building code requirements to avoid pen-alties and fines. Always get a deck-building permit to ensure compliance with local laws.
What Is a Joist? Joists are the repeated structural members that are used to build a deck frame. The minimum size joist to be used in deck construction depends on the number of footings and beams that will be installed.
What Is a Rim Joist? A rim joist is the main load-bearing element for the structural soundness of your deck’s roof. It’s not only responsible for supporting the weight of the joists, but other building elements, as well. It is attached perpendicular, (two lines that intersect at a right angle or 90 degrees to each other), to the other joists, and provides lateral support for the ends of the joists while capping off the end of the floor or deck system
Deck Joist Spacing A lot of questions revolve around joists when it comes to building a deck. What is the proper placement? How far apart are deck joists placed? How do I keep them even? In general terms, joists are at a measured space of 16 inches on center to comply with most building codes for weight displacement.
Footings Footings are a very important component of deck construction because they provide the solid foundation that will support your deck. Your deck’s design will determine how live and dead loads are transferred from different sections of the deck to con-centrated points of contact with the ground. The more footings your deck has to dis-tribute the total load, the less weight each footing will need to carry. Footings also have to be installed lower than the frost line to prevent the deck from moving when the soil freezes in the winter. A pier is often used as an upright support to connect the buried footing pad to the structural post above grade. The soil conditions and the climate will determine the size and depth of your footings.
Frost Line A frost line, also known as frost depth or freezing depth, is most commonly the depth to which the groundwater in soil is expected to freeze. The frost depth depends on the climatic conditions of an area, the heat transfer properties of the soil and adja-cent materials, and on nearby heat sources. For our county, which includes Hoquiam, the frost line depth is between 12 to 18 inches.
Weight Loads The load that is placed on your deck is expressed in pounds per square foot (psf) and the total load or more appropriately, the design load, is comprised of the dead load and the live load. Dead load is basically the load created by the weight of the deck itself. This is usually about 50 psf. The live load is the external force applied to a deck due to the activities of its use. People, furniture and any other movable, physical ob-jects on the deck are covered under live load.
Deck Boards These are the boards that make up the surface of a deck. The decking boards are se-cured to the joists.
Local Building Codes Building codes are defined as: A set of regulations written by city or county officials with the help of construction professionals that governs the design, construction and modification of commercial buildings, homes and other structures in the jurisdiction. Violating these regulations can result in fines and/or penalties and work stoppage of the entire project until corrections are made. You may ask, “Why do we need to know about building codes?” Currently, there are approximately 40 million decks in the United States, and only half of those are code-compliant.
Week Two (Music & Matter) Page 19
M r . H a r n e r ’ s C o n s t r u c t i o n M a t h C l a s s B u i l d A F u l l s i z e D e c k
Deck safety is a real problem. Every year we hear about decks that collapse un-der the weight of people or snow load. Improperly built decks can be danger-ous. Local codes were created to keep us safe, and many existing decks do not meet current safety codes.
What is a free standing deck? For a deck to be free standing it really must be unattached to any other struc-ture like a house. It can be within 3/4" to 1" from the siding or exterior of the house and appear like it is connected to an untrained eye but it is truly freely standing from the house. There are plenty of very good reasons that a home-owner would like to have a free standing deck. A few of the best reasons are so you don’t trap dirt, moisture and other debris against your house, (which will cause rotting). Also by not attaching it to the house, you will not be adding any extra load bearing weight to the house structure which could require extra structural supports. One of the single biggest problems within deck building starts at the beginning of the process. Many do-it-yourselfers think they can throw up a few boards and call it a deck without considering local building codes, weight loads, proper joist framing, planking, support, footings and rail-ings. A deck needs to be safe and must support the weight of the people and furniture on it. This requires a deck design custom-configured to the space where the deck will be. The design must meet with local building code require-ments to avoid penalties and fines. Always get a deck-building permit to ensure compliance with local laws.
Framing lumber, unlike money, does grow on trees, so there's always the chance it will have some natural defect, such as a large knot or a long split, that can reduce its overall strength. But not all defects are obvious. That's why every stick of lumber coming out of a sawmill is appraised by trained inspectors and given a grade stamp. This cryptic tattoo indicates that a piece of wood meets established standards for strength and stiffness, and it also offers useful infor-mation about the type of wood and how much moisture it contains. Follow along as we decode the stamp and show you how to get the most lumber for your money.
1. Species 2. Grade 3. Moisture content 4. Certification mark 5. Mill
1. Species Denotes the wood's species or a group of species with similar strengths. While all spe-cies are graded at the same four levels of strength and appearance, they are not equally strong. A joist made of Douglas fir, for instance, will cover a greater span than a hem-lock joist of the same size and grade. But using bigger joists of a cheaper species might save you money without loss of strength. The abbreviations for framing-grade soft-woods, from strongest to weakest, are as follows:
Doug Fir, D Fir- L: Douglas fir (L=western larch) SYP: Southern pine Hem, Hem-fir, H-F: Hemlock or fir S-P-F: Spruce, pine, or fir
2. Grade Establishes lumber quality based on a grader's visual inspection. The ranking goes from "Select Structural" (highest strength, best appearance) to No. 1, No. 2, and No. 3 (lowest strength, not pretty). As the numbers go up, quality and price go down. "Stud" is a fifth designation, meaning it's good for a load-bearing wall. This Old House general contrac-tor Tom Silva usually buys stacks of No. 2 lumber, which provides good strength at a reasonable price. Those stacks also include some No. 1s and Selects, to boot. For de-manding applications, such as interior load-bearing walls, he'll pay extra for these stronger grades.
3. Moisture Content "Green" unseasoned lumber fresh from the mill is labeled either air-dried (AD) or sur-face-green (S-GRN). Its moisture content of 19 percent or more makes it inexpensive, but it can move unpredictably as it shrinks and dries. You'll get less movement with kiln-dried (KD) or surface-dry (S-DRY) lumber, which has a moisture content between 16 and 19 percent. (KD-HT means the wood was also heat treated to kill pests, a requirement for imported lumber.) Tom saves money by ordering S-GRN wood when framing a new house, figuring that all the wood will air dry at the same pace. But in an existing house where the framing is already dry, he'll use more stable, and more costly, KD lumber, or even MC-15 lumber, which has a moisture content of 15 percent or less. The two re-maining designations enable grading agencies to enforce their standards.
4. Certification Mark Identifies the accredited agency or association that oversees grading accuracy, in this case the National Lumber Grades Authority.
5. Mill Gives the trademark or number of the mill of origin.
Week Two (Music & Matter) Page 20
M r . P e l a n ’ s P E C l a s s
Dynamic Workout Mon Tue Thur Beauty Queen Stretch 20 seconds
each leg
Butterfly Stretch 20 seconds
10 Sit-ups
10 Push ups
Mountain Climbers 20 seconds
V-Ups 10 each leg
10 Burpees
10 Dips
Front Plank 40 seconds
Left-side Plank 30 seconds
Right-side Plank 30 seconds
Cardio Wednesday
1 mile walk/run
Cross Fit (Repeat 6 times) Friday
10 Jumping Squats
10 Sit-ups
10 Burpees
10 Triceps Dips
10 Jumping Lunges
10 Push ups
M r . H a r n e r ’ s C o n s t r u c t i o n M a t h
T P e l a n @ h o q u i a m . n e t
1. What is the most vital part about your deck?
2. What do many do-it-yourselfers think they can do?
3. Which repeated structural members are used to build a deck frame?
4. Which board is attached perpendicular to the other boards?
5. How many inches apart should joists be?
6. What makes the solid foundation that will support your deck?
7. Footings have to be installed below what?
8. What is the frost line depth in Hoquiam?
9. The weight load on your deck is expressed in what format?
10. What makes up the live load of a deck?
11. What part of the deck are the decking boards are secured to?
12. What are building codes?
13. Why do we need to know about building codes?
14. Currently, roughly how many decks in the United State are code-compliant?
15. How close to a structure can a free standing deck be?
16. Give 3 reasons to have a free standing deck.
17. Under Reading a Lumber Stamp: Using the identification numbers 1-5 with the picture, tell me what species of wood, the Grade, the Moisture content, the Certification mark and the Mill mark mean.
Week Two (Music & Matter) Page 21
Instructions
1. Choose which A,C,E… overlay strip Earth Day images you will use.
(The recycle symbol or the date)
2. Color this and the B,D,F... one (the earth) in as regular pictures.
3. Cut out each image and then cut it into vertical strips. (each will
end up with 8 strips)
4. Glue the cut out strips onto the appropriate blank background.
You will glue them in alphabetical order A through P.
5. Cut out the completed glued agamorgraph, including cutting off
the letters at the bottom.
Folding
Starting from the left, fold the first strip behind, the second in front,
and the third behind, alternating until you have finished.
You now have completed your agamorgraph!
To get the best viewing of the two images you will need to aim to
have each fold at 90°. It needs to be mounted upright with each fold
at this angle.
To view one image the viewer will need to look at the art piece from
the left, and to view the other image they will need to move around
and look from the right.
Week Two (Music & Matter) Page 22
M s . W e a v e r ’ s A r t C l a s s V W e a v e r @ h o q u i a m . n e t