The synths and the granular sounds consistently change shape and position filtering in out of the soundscape providing contrast from the more nicer sounds to the grittier sounds. The ambient synths particular have a pulsing sound like they are waves crashing as they pound the coast. The Sci-Fi Synth waves come in layered loops, while the Glockenspiel has a percussive edge to it and a child like playfulness. Pulses of electronic sound splatter out like tentacles and synth ripples float out filling up every aspect of sound making the track aurally rich with the feature being the Glockenspiel rhythm.
The Synth is thick with weight, the piano keys ripple out and the static loops remind of field recordings of natural electricity. A flute like bird song comes into play and gives the melodic transition to a more darker territory where the synths have an austere sound to them and in way almost like the haunting sounds of whale songs. A nice comparison of elements. The contrast is that one is more subdued than the others frantic rhythm.
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Despite the title track being in length it is a nice counterpoint in that the album can oscillate between Ambient and IDM and this track covers both genres easily. Just when you think you know the direction the track is heading in a melodic guitar that sounds almost Synth like comes in and changes the direction of the track. After a short break down the original electronica styled Synth returns with a shaker percussion accompanying it before the guitar returns and the handclaps lead the track out to the end.
The track manages to cover the electronica side of things with a slight nod to post rock in the guitar department. The track opens with record groove dust sounds while a haunting drone cascades and a minimal section of morose piano is played. Other drones enter the mix with sounds seemingly lurking deep in the mix which build up the sound. Industrial like sounds cut in an out in a haunting desolate fashion with a dark ambient edge to it.
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Parts of additional piano sound like they are played on instruments that have been exposed to nature. This is a track that goes over several genres and is not easily pigeon holed. Layers of choral samples over granulated sound form a heavenly drone which is supported by synth drones. Train brake slamming like noises shudder in and out as a swirl of electronics swarm around the drones with sounds going in every possible direction.
The layers cascade over each other and build up ever so slightly in intensity with storm like feel that settles down to center on the drones in the last two minutes of the track just leaving the choral ambience to take us to the end.
Teaching class teachers to use CA In the late s to early s, speech pathology services to school age children in Melbourne were usually provided at a centre far removed from school and home. During the mid- to late s, services to these pupils were increasingly provided at the school level. An important part of a speech pathologists role in education was to evaluate how the pupil could be better supported in the classroom. At first this often involved trying to convince teachers to use some CA signs to assist pupils with special needs.
Around this time, Jane published CA and embarked on a series of workshops. Her enthusiasm and energy was infectious and, as a result, many speech pathologists took up the challenge to provide workshops to teachers and parents and to classroom assistants for pupils with special needs. Over the years I have tried different workshop formats in an attempt to meet the changing needs of schools and teachers.
In addition to the original format of five- to six-weekly after-school sessions, others such as lunchtime workshops, two half-day and full-day workshops have been tried very successfully. Although the half and full-day workshops require more follow-up, as the learning is quite concentrated, they allow the workshop to be scheduled on whole- school professional development days rather than after hours. This is often preferable to after-school hours, when many teachers have other commitments.
The most successful programs have been in schools in which teachers have formed their own signing support group, with input from me as needed.
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CA has continued to be part of my professional development program to teachers, but its content has changed to incorporate new ideas and programs. Early feedback from teachers indicated that they wanted practical activities that could be used immediately in the classroom, and so over time the number and types of activity have grown to cover different age groups. During the workshops teachers have found it beneficial to develop their confidence in using CA in these activities, in co-operative learning groups, before they use the activities in the classroom.
It teaches that speech sounds or phonemes can be represented by different spelling choices, which may be a graph, a digraph or a trigraph; that is, one letter, two letters or three letters, respectively. The LiPS program is a multisensory program which focuses on the auditoryperceptual skills considered essential to the development of reading, spelling and speech.
Working in an area in which 75 per cent of pupils have a language other than English in the home or as their main language, there has been a big demand for learning about vowels. Class teachers have also wanted guidance on the best way to introduce CA to the classroom.
Each teacher has to make this decision based on the grade level, the teachers own confidence in using the system and other curriculum considerations. Some teachers like to use the information gained from a CA workshop to start a whole new approach to teaching pupils about sounds.
Many teachers like to use CA to enhance their existing teaching about sounds in the curriculum. A handout titled Different methods of introducing Cued Articulation is included as Appendix 1 page It summarises information presented in workshops to assist teachers to find the method which suits their individual learning style.
Class teachers have found it useful to gather a core of materials suitable for a grade level.
This contains a list of materials that class teachers have found most useful in their classrooms. Feedback to CA workshops continues to be very positive, and the old days of trying to convince schools who were deep in the whole- language philosophy that many children still needed direct instruction about sounds have long gone.
Class teachers are now also seeing the benefits of teaching children to think about sounds or phonemes and how the sound system of English maps onto letters or the graphemes. From small-group to whole-class teaching For many years I had taught CA to small and medium-sized groups in a classroom, but I had never worked at the whole-class level until two teachers invited me to run a series of lessons once a fortnight in their prep grades. This gave me a chance to try out my ideas and suggestions to class teachers at the whole-class level.
The class teachers then revised and extended the activities with their class before the next lesson. A character drawn onto a large poster was used to teach the children about using the three senses of feeling, seeing and hearing to learn about sounds.
This main character was only happy when his hands, ears and eyes were working. At the beginning of each lesson the character was used to revise the concept of multisensory learning with CA.
His mouth was turned from a sad to a happy mouth once the class was primed to use all three senses for the days lesson. The developmentally earlier developing sounds were introduced first wherever possible. The concept of quiet and noisy brothers from the LiPS program was used to develop a Quiet and a Noisy character to represent this difference between sounds.
The characters were drawn onto separate posters and were identical except for the mouth. The Quiet character had a very thin mouth and the Noisy character had a very large mouth. As the sounds were introduced to the children these characters were used to teach the children about the voiced versus voiceless features of sounds.watch
A Handful of Sounds Jane Passy Ebook EPUB PDF
As the voiced and voiceless pairs of sounds were introduced the children were encouraged to decide whether the sound was quiet or noisy, and to describe how they were making the sound; that is, to answer the question Whats working?. The children then explored how the CA sign helped them to remember how they made the sound. The childrens learning was then reinforced by singing songs and playing games.
The children also enjoyed thinking about which children had a name that started with the sounds being taught that week. The class would then think of a song to sing to this pupil; for example, Peter is peeping pppp as Peter stood up and did the actions. Even very shy pupils enjoyed having the class sing a song to them. Each week two to three games were chosen to revise the sounds taught in previous weeks and to teach the new sounds. The children particularly enjoyed a game called Quiet and Noisy, in which a sound was produced and they had to decide which side of the room they should move to, the quiet side or the noisy side.
Another weekly favourite involved giving each child a toy that started with one of the sounds being taught. Children then took it in turns to say the name of the toy using CA, and to decide whether the initial sound was quiet or noisy. The toy was then given to the appropriate quiet or noisy character. The LiPS program contains scripted lesson examples for teaching pupils to explore sounds, which are extremely helpful to use in conjunction with teaching CA.
The program also includes a number of useful labels for sounds, enabling pupils to talk about sounds and what is the same and different about them. This allows pupils to explore their errors in reading, writing and listening to sounds. The dialogue could go something like this: Today, Quiet and Noisy are going to help us learn about some new sounds. Show a picture of a detective looking for clues. Who can remember what a Sound Detective does? I have brought Quiet and Noisy with me again today. Remember, when the sound is noisy we can hear and feel it buzz. Put your hands over your ears.
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Lets say it all together. Is it a quiet or a noisy sound? When I say go I want everyone to put their hands over their ears and see if they can hear and feel it buzz Who could feel or hear it buzz? Now put your hand on your throat, like this.
Who can feel their voice make the buzz? Explore with the children the feeling made by the voiced sound. Remember, we have to use two fingers when its a noisy sound. Everyone look at a friend and help them use two fingers Lets see whats working when I make this sound. Hands up if you know what is working to make this sound. Provide cues to help pupils work out which articulators are used to make a sound. Once the pupils have decided whats working to make a sound you can then concentrate on how that articulator is working.
Now that we know that our tongues are doing the work, look at my Magic Talking. What is my tongue doing?
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