Transcript Text Comprehension - Michigan's Mission: Literacy

Literacy in Action
Module 2
Protocol for Looking At Writing Tracker Evidence
and
Content-Area Text Comprehension
Literacy in Action
Analysis of Classroom Data for Writing Tracker
How many students met the writing fluency criterion
ten times during the ten writings?
125 wpm for 5 minutes (middle school)
150 wpm for 5 minutes (high school)
How many students met the criterion fewer than five
times?
How many students did not meet the criterion?
Reviewing the Student Writings
During the next ten minutes read some of the writings
from each of the folders.
• Jot down your observations.
• How are the writings from the three folders
alike and different?
• What will you do to help students who are in the
lower category write like the middle category?
• What will you do to help students who are in the
middle category write like the higher category?
Goals and Action
• Write down goals I have for the next ten
Writing Tracker writes.
What kind of prompts?
What accommodations must be made?
How can I differentiate?
Text Comprehension
Participants will learn how to use Guided
Highlighted Reading for two purposes.
1. Answer multiple-choice questions
2. Write summaries with evidence
Your turn
• At your table talk about strategies, activities,
and protocols you use to help your students
comprehend text.
• Share
Common Core Reading
Anchor Reading Standards (1 – 3)
Key Ideas and Details
1. Read closely to determine what the text says
explicitly and to make logical inferences from it; cite
specific textual evidence when writing or speaking to
support conclusions drawn from the text.
2. Determine central ideas or themes of a text and
analyze their development; summarize the key
supporting details and ideas.
3. Analyze how and why individuals, events, and ideas
develop and interact over the course of a text.
THE HISTORY OF JAZZ
Historically the journey that jazz has taken can be traced with reasonable accuracy. That it ripened most fully in New Orleans seems beyond
dispute although there are a few deviationists who support other theories of its origin. Around 1895 the almost legendary Buddy Bolden and
Bunk Johnson were blowing their cornets in the street and in the funeral parades which have always enlivened the flamboyant social life of
that uncommonly vital city. At the same time, it must be remembered, Scott Joplin was producing ragtime on his piano at the Maple Leaf
Club in Sedalia, Missouri; and in Memphis, W.C. Handy was evolving his own spectacular conception of the blues.
Exactly why jazz developed the way it did on the streets of New Orleans is difficult to determine even though a spate of explanations has
poured forth from the scholars of the subject. Obviously, the need for it there was coupled with the talent to produce it and a favorable
audience to receive it. During those early years, the local urge for musical expression was so powerful that anything that could be twanged,
strummed, beaten, blown, or stroked was likely to be exploited for its musical usefulness. For a long time the washboard was a highly
respected percussion instrument, and the nimble, thimbled fingers of Baby Dodds showed sheer genius on that workaday, washday utensil.
The story of the twenties—in Chicago—is almost too familiar to need repeating here. What seems pertinent is to observe that jazz gravitated
toward a particular kind of environment in which its existence was not only possible but, seen in retrospect, probable. On the South Side of
Chicago during the twenties the New Orleans music continued an unbroken development.
The most sensationally successful of all jazz derivatives was swing, which thrived in the late thirties. Here was a music that could be danced
to with zest and listened to with pleasure. (That it provided its younger auditors with heroes such as Shaw, Sinatra, and Goodman is more of a
sociological enigma than a musical phenomenon.) But swing lost its strength and vitality by allowing itself to become a captive of forces
concerned only with how it could be sold, not how it could be enriched. Over and over it becomes apparent that jazz cannot be sold even
when its practitioners can be bought. Like a truth, it is a spiritual force, not a material commodity.
During the closing years of World War II, jazz, groping for a fresh expression, erupted into bop. Bop was a wildly introverted style developed
out of a certain intellectualism and not a little neuroticism. By now the younger men coming into jazz carried with them a GI subsidized
education, and they were breezily familiar with the atonalities of Schonberg, Bartok, Berg, and the contemporary schools of music. The
challenge of riding out into the wild blue yonder on a twelve-tone row was more than they could resist. Some of them have never returned.
Just as the early men in New Orleans didn't know what the established range of their instruments was, so these new musicians struck out in
directions which might have been untouched had they observed the academic dicta adhering even to so free a form as jazz.
The shelf on jazz in the music room of the New York Public Library fairly bulges with volumes in French, German, and Italian. It seems
strange to read in German a book called the Jazzlexikon in which you will find scholarly résumés of such eminent jazzmen as Dizzy Gillespie
and Cozy Cole. And there are currently in the releases of several record companies examples of jazz as played in Denmark, Sweden, and
Australia. Obviously, the form and style are no longer limited to our own country. And jazz, as a youthful form of art, is listened to as avidly
in London as in Palo Alto or Ann Arbor.
Arnold Sungaard, "Jazz, Hot and Cold
Your turn…
1. Read A History of Jazz
1. Answer the multiple choice questions.
Your turn…
1. Write a summary of A History of Jazz
2. Use the scoring rubric to guide your thinking.
rubric
3. Tally your score.
Rubric for Scoring Summary
CC Reading
Anchor
Standard 2
2. Determine central
ideas or themes of a
text and analyze
their development;
summarize the key
supporting
details and ideas.
3 Complete
CCSS Reading Anchor #2
Response summarizes
using:
clearly identified central
or main ideas.
(3 points )
supports central ideas
well with key details and
ideas from the text.
(evidence)
(3 points)
2 Partial
CCSS Reading Anchor #2
Response summarizes
using:
partially or ineffectively
identified central or main
ideas.
(2 points)
supports central ideas with
some details and ideas from
the text. (evidence)
(2 points)
1 Minimal
Score
CCSS Reading Anchor
Response summarizes
using:
inaccurately identified
central or main ideas.
(1 point)
supports central ideas
with few details and ideas
from the text. (evidence)
(1 point)
6__/6
Guided Highlighted Reading for Answering Multiple-Choice
Questions—Match to Questions
The teacher reads the following:
#1 In lines #2, #6, and #7: Find and highlight the three cities in which jazz might have been born that the author names
to show that the origin of jazz is difficult to trace. (“New Orleans,” “Sedalia, Missouri,” and “Memphis”)
#2 In line #4: Find and highlight where early jazz was heard. (“…in the street and in the funeral parades…”)
#6 In lines #9 and #10: Find and highlight the words that show that New Orleans with its musical tradition was the
perfect place for jazz to grow. (“…the need for it there was coupled with the talent to produce it and a favorable
audience to receive it.”)
#4 In line #12: Find and highlight five words that show the importance of rhythm in jazz. (“…twanged, strummed,
beaten, blown, or stroked…”)
#4 In line #13: Find and highlight the name of the percussion instrument that further reinforces the importance of
rhythm in jazz. (“washboard”)
#5 In line #19: Find and highlight the name of the popular music that resulted or was derived from jazz. (“swing”)
#9In line #21: Find and highlight the two words that mean the author thinks it was a mystery of society that young
people made musical heroes of the older jazz performers, Shaw, Sinatra, and Goodman. (“sociological enigma”)
#3 In lines #22 and #23: Find and highlight the reason swing lost its strength and vitality. (“…by allowing itself to
become a captive of forces concerned only with how it could be sold…”)
#5 In line #26: Find and highlight the name of another form of music that was a reaction to jazz. (“Bop”)
#8 In line #27: Find and highlight the description the author gives of Bop to show that it was a reaction to jazz not a
result of jazz. (“…a wildly introverted style developed out of a certain intellectualism and not a little neuroticism.”)
#2 In lines #30 and #31: Find and highlight the words the author uses to show that returning GI jazz musicians based
Bop on more modern or contemporary music. (“…the atonalities of Schonberg, Bartok, Berg, and the contemporary
schools of music.”)
#7 In lines #40 and #41: Find and highlight the sentence that shows that jazz is no longer a uniquely American art form.
(“Obviously, the form and style are no longer limited to our own country.”)
Multiple-Choice Post Test
This is a chance to raise your score. Retake
the test or review your answers with the new
information from the Guided Highlighted
Reading strategy.
Guided Highlighted Reading for Summary with Evidence
The teacher reads the following:
In line #3: Find and highlight the words the author uses to let the reader know that
there were other explanations for the beginnings of jazz. (“…other theories of its
origin.”) (detail/evidence, CC2)
In lines #6 and #7: Find and highlight two other forms of jazz being developed at the
same time as New Orleans jazz. (“ragtime” and “blues”) (detail/evidence, CC2)
In line #19: Find and highlight the name of the popular music that resulted or was
derived from jazz. (“swing”) (central idea, CC2)
In lines #22 and #23: Find and highlight the reason swing lost its strength and vitality.
(“…by allowing itself to become a captive of forces concerned only with how it
could be sold…”) (detail/evidence, CC2)
In line #26: Find and highlight the name of another form of music that was a
derivative of jazz. (“Bop”) (detail/evidence, CC2)
In lines #30 and #31: Find and highlight the words the author uses to show that
returning GI jazz musicians based Bop on more modern or contemporary music.
(“…the atonalities of Schonberg, Bartok, Berg, and the contemporary schools of
music.”) (detail/evidence, CC2)
Your turn…
1. Read through your summary.
2. How would you modify your summary
because of the Guided Highlighted Reading?
3. Tally your new score.
Rubric for Scoring Summary
CC Reading
Anchor
Standard 2
2. Determine central
ideas or themes of a
text and analyze
their development;
summarize the key
supporting
details and ideas.
3 Complete
CCSS Reading Anchor #2
Response summarizes
using:
clearly identified central
or main ideas.
(3 points )
supports central ideas
well with key details and
ideas from the text.
(evidence)
(3 points)
2 Partial
CCSS Reading Anchor #2
Response summarizes
using:
partially or ineffectively
identified central or main
ideas.
(2 points)
supports central ideas with
some details and ideas from
the text. (evidence)
(2 points)
1 Minimal
Score
CCSS Reading Anchor
Response summarizes
using:
inaccurately identified
central or main ideas.
(1 point)
supports central ideas
with few details and ideas
from the text. (evidence)
(1 point)
6__/6
Tally your score and record
your success
Name
Topic
History of
Jazz
MultipleChoice Test
Pre
Post
Summary
Pre
Post
Recommendations
Next steps
Date
To
Review
Four Essential Questions In Close &
Critical Reading
• What does it say?
(a summary with evidence)
• How does the author say it?
• What does it mean?
• So what? What’s the connection to me?
Example of a Detailed Summary
(What does the text say? (Restatement: Briefly summarize “The History of
Jazz” at the literal level.)
The origin of jazz is difficult to pinpoint because jazz was
developing in New Orleans at the same time ragtime was
developing in Sedalia, Missouri and the blues were being played
in Memphis. (central idea, CC2) As jazz developed, there were a
number of derivatives such as swing and bop. In the late ‘30’s,
swing became very popular, but it’s popularity waned because it
was over commercialized. (detail/evidence, CC2) GI’s coming
home from World War II wanted a fresh kind of jazz, and Bop, a
more introverted and intellectual form of jazz that was
influenced by contemporary schools of music, was born.
(detail/evidence, CC2)
Diminishing the GHR Scaffold
1. Read students the prompts, have them highlight the response, show them the correct
responses on an ELMO or overhead projector, or have them check with peers.
2. Tell the students how many prompted responses there will be in the first
paragraph and let them underline what they think will be prompted, and
then read the prompts. Go through the passage paragraph by paragraph.
3. Tell the students how many prompted responses in the passage and
they determine what would be prompted. When they are finished,
read the prompts and have them check their responses. Discuss
differences.
4. Have students work in partners to determine what is
important to the particular task: multiple- choice
questions or summary.
5. Students work alone to determine the
information.
Your turn…
With your content-area group:
Read your content passage.
Read and answer the multiple-choice questions.
Preparing for Guided Highlighted Reading
Multiple Choice Questions
From Guided Highlighted Reading: A Close-reading Strategy for Navigating Complex Text
Weber, Nelson, & Schofield
Maupin House, 2012
If you are asking students to read to answer multiple-choice questions, analyze
the questions to determine how you can prompt students to find the answers to
the questions. Prepare prompts that will scaffold students to be able to identify
and analyze the following:
 main ideas
 supporting details, examples, facts, claims, arguments, evidence
 vocabulary important to the understanding of the text
Your turn…
The content-area groups select two or three questions
and write prompts that will help students select the
correct choice (answer) for the question.
Example from “The History of Jazz”
7. That the author finds it "strange" (line 37) to read foreign books about jazz and to hear
recordings of jazz from abroad implies that:
– A. non-Americans lack the spirit and soul for jazz.
– B. jazz played abroad is an imitation of the real thing.
– C. future developments in jazz may come from unexpected places.
– D. jazz is a uniquely American art form.
Guided Highlighted Reading for Multiple Choice question # 7
In lines #40-#42: Find and highlight the sentences that shows that jazz, once thought to be
a distinctly American form, is popular in other countries. (“Obviously, the form and style
are no longer limited to our own country. And jazz, as a youthful form of art, is listened
to as avidly in London as in Palo Alto or Ann Arbor.”)
Share…
Content-area groups will share some of their
prompts with the other groups.
Preparing for Guided Highlighted Reading
Summary with evidence
From Guided Highlighted Reading: A Close-reading Strategy for Navigating Complex Text
Weber, Nelson, & Schofield
Maupin House, 2012
Choose a complex text.
Prepare the text by numbering the paragraphs or lines in a text or the stanzas or lines
in a poem.
Determine which purpose(s) you want the students to practice: summary, author’s
craft, vocabulary, and/or answering multiple-choice questions.
Prepare the prompts based on the text and the purpose(s) chosen.
If you are reading for summary write a short summary to help you frame the
prompts. Prepare prompts that will scaffold students to be able to:
•restate in their own words what the text says explicitly.
•make logical inferences.
•cite specific textual evidence to support conclusions drawn from the text.
•determine central ideas.
•summarize the key supporting details and ideas.
From Common Core Reading Anchor Standards #1 and #2
Your turn…
With your group….
• Review the summary for your content-area
text.
• Practice writing one or two prompts to alert
students to the pertinent information in the
text necessary to write a summary.
• Share your prompts with other groups.
Getting Student Achievement Evidence with
Guided Highlighted Reading
The following is a plan to use GHR to support
student achievement on text comprehension
and document their growth in the following
areas:
– answering multiple-choice questions
– writing a summary with evidence
Chart of Evidence of Text Comprehension Success
Student Name
Topic
Multiple-choice Test
Pre
Post
Pre
Summary
Post
Recommendations
Next steps
Date of
Review
Evidence of Text Comprehension
1. Select a text that is too difficult for your students to
comprehend without teacher support.
2. Give the students a pretest that includes the following:
– The multiple-choice assessment (optional)
Tally the data in the pre-assessment column.
– Answer the question, “What does the text say?” in a
summary with evidence.
Read to the students the scoring rubric for summary and
have the students score their summary.
Tally the data.
Instruction/Scaffolding for Text Comprehension
and Post Assessment
1. Wait a few days and then have the students respond to the
Guided Highlighted prompts you read to them for multiple-choice
questions.
Have students answer the multiple-choice questions and give the
option to revise their original answers
Tally the data from the pre and post assessment.
2. Next, read the Guided Highlighted prompts for summary.
Students will modify their summary to better answer the
question, “What does the text say?”
Have the students assess their summaries with the scoring rubric.
Tally the data.
Four Essential Questions In Close &
Critical Reading
• What does it say?
• How does the author say it?
• What does it mean?
• So what? What’s the connection to
me?
The last
three
questions
will be
developed in
LIA Module,
Close and
Critical
Reading
http://4.bp.blogspot.com/_i-r2GCNVjWA/SWe7r5bnm9I/AAAAAAAABDs/kJh594W4PU/S1600-R/deeply.png
Your Evidence for Credit
Using 1 text selection, develop prompts:
• 4 for multiple choice
• 4 for summary
Bring prompts back with you to share at the
next session.
Thanks for your professionalism.
Good luck with your project.
We will see you at the next session which is
Module 3 – Vocabulary
.