Guest Post by:
Peg Grafwallner, Instructional Coach/Reading Specialist, Ronald Reagan IB High School, Erica Breitbarth, Music Teacher, Ronald Reagan IB High School
One of my favorite ways to spend the first block is to observe a music class. I am an
Instructional Coach and Reading Specialist at a large, urban high school. I collaborate with dozens of teachers by supporting them in embedding literacy into their classroom teaching with disrupting their learning objectives. This particular morning I observed Ms. B’s Beginning Chorus class. As students practiced their scales, Ms. B played the piano and offered instructions. She encouraged students to use Curwen hand signals to align to the notes. These hand signals offer a kinesthetic connection to the notes giving students the chance to, according to Ms. B, “visually and spatially represent the sound they are producing.”
As students were practicing their scales, I noticed explicit similarities between reading and music; and most notably, reading in music. Ms. B. prefaced the lesson’s song by offering background on the composer and the arranger. Frequently, the background of an artist can be directly related to the piece they create. Therefore, that background is often analyzed to make meaning from the piece. Likewise, when I introduce a short story, I always share with students the background of the author. Often, the author’s interesting life experiences is a hook to get students interested. As an example, the life of Edgar Allan Poe is as emotionally complex as his poem, “Annabelle Lee.” Therefore, it is beneficial to spend time on the connections between author and text and in this case, between the composer and the music.
Next, Ms. B asked her students to listen to the introduction of the song and try to predict
what it was about. What mood did the piece evoke? How did it make them feel? These questions encouraged students to imagine what the composer or musician is saying within the music. What do they want us to know, to feel, to understand? In addition, students were encouraged to apply music terminology to their explanations. Utilizing that terminology supports their practice of music language and inspires them to communicate as a musician. In a similar way, when I teach a new piece of text, I often “tease” students with the first couple of lines from the story (“It was the best of times; it was the worst of times,” A Tale of Two Cities) or the name of the main character (“Bigger Thomas,” Native Son) or the location of the setting (“Starkfield,” Ethan Frome). I ask them to predict what they think the story is about, or to anticipate the attitude of the character or to foresee the importance of the place. That conversation helps students to imagine the theme, the characters and the setting.
Next, Ms. B distributed the sheet music and asked students to take a few minutes to
“read” it over. She asked them to sing the rhythms on counts and encouraged them to keep reading the music even if they mixed up a rhythm, but to continue working on it both visually and aurally. As a reading specialist, I encourage students to keep reading if they get stuck on a word. I remind them of various “fix it” strategies to make meaning. As an example, can the student determine meaning from the prefix, the root word or the suffix? Is the student able to understand the gist of the reading without the word?
When students finished reading, Ms. B asked them to highlight their individual line so
that it would “stick out of the musical texture as you read.” This type of close reading, or
“musical annotation” is a valuable skill in all content areas. When students begin a new piece of text, even a brief close reading supports their annotation skills. By doing a close reading, students are asking questions, making comments and deciphering unknown vocabulary. This engagement with the text helps students for the challenge of reading and making meaning of what could be an unfamiliar topic.
As students read and highlighted, Ms. B prepared a video of the song being performed by
an authentic ensemble, so students could “feel” the style and the spirit of the piece. This visual is critical in making an auditory connection. By listening to the music and watching the singers’ body language, the student is hearing and seeing the relationship between the singers and the music. Similarly, I often show a video or play a recording of an author reading a portion of their short story, poem or novel. I want students to see the author’s demeanor when reading and hear the tone and inflection of the author’s voice.
Finally, after a visual and spatial warm-up, an introduction of the artist, a prediction of
the piece, a detailed close-reading with annotation, and lastly, a visual and auditory opportunity to hear the music, Ms. B’s students were ready to practice the piece themselves.
In closing, it is essential to create scaffolded reading opportunities in all classes, not just
the four “core” where one would most expect them. To support students in reading, explicit and useful strategies are necessary to make meaningful reading connections, which in turn, highlights the value of reading in every single subject. Applying those specific reading strategies in music and all classes demonstrates the value of that discipline and the ability to transfer those strategies from one content area to the next.
References
Dickens, C. (1859). A tale of two cities. London: Chapman Hall.
Wharton, E. (1860). Ethan Frome. New York, Charles Scribner’s Sons.
Wright, R. (1911). Native son. New York, Harper.
Peg Grafwallner is the author of Ready to Learn: The FRAME Model for Optimizing Student Success, available now through Solution Tree.
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I also thought this would be a good opportunity for them to choose and learn a little about a place where Spanish is spoken and create an “About_(country)_____” to share that information with the rest of the class. But I also realize that there are many students who are visual learners like me and I wanted to encourage students to be able to quickly look at and process information and represent it in a different way. Rather than simply restating the same content, push them to apply it at a higher level or find a different way to demonstrate an understanding of a concept.


Kim Weber is a Transformation Agent for LINC, the Learning Innovation Catalyst. Before joining LINC, Kim worked for 20 years as a public and private school teacher in California and New York City. She is a presenter and coach for schools across the country who are embarking on school transformation projects that focus on creating classrooms that put students at the center of learning and help teachers become pedagogical problem solvers.
Libraries might seem dated, but they are in fact one of the best-kept secrets. We got library cards for our kids as soon as they could write their names. Today, cards can be used to check out everything from audiobooks to new release movies. Apps like Hoopla and Overdrive are amazing. With a library card, these two sites offer thousands of books, movies, and music. Giving kids the opportunity to borrow a stack of books without any cost is ideal for many families. Taking advantage of MEL, the state’s interlibrary loan program, allows people to request books from all over the state of Michigan and have them sent right to your local library. Showing someone how to use the library unlocks a world of possibility. Anything can be learned by using the public library. And, using the library saves a lot of money. Surrounding kids with books is one of the best things you can do to get them reading. The library makes reading an inexpensive activity. I am not alone when it comes to using the library. Several
A few years ago one of my boys really got into hockey. We found all of the Matt Christopher books about hockey in the library, and he eagerly read each one cover to cover. Last summer my daughter was obsessed with learning about swimming. We raided the library for any nonfiction book we could find on the topic. During the winter it was graphic novels, and today she loves to dive into anything related to fairy tales. Even though I have a pretty good idea about what each of my kids likes to read, I had experiences where I selected a book or two I thought might be perfect, only to have them not show an interest in what I picked out. I do not take it personally, since there is no cost associated with it, and know that as a reader I don’t read every book I take home from the library.
When I first started teaching, I would ask the parents of my really motivated readers who seemed to always be reading, “Tell me how you did it? What do you think has made the difference in getting your child excited about reading?” Almost every time I was given the same answer, “I suppose he just sees me reading all the time, and it just seemed like the thing to do. My nose is always in a book”.
Exposure to good literature and authors is one of the best gifts we can give our readers. I absolutely love sharing some of my favorites with kids. Just as we could taste cheese, wine, sauces, desserts, or other menu items, book tastings are a great way to try new things. I typically put a book in front of each place setting. Each child will get a chart to list the title he or she tasted along with the author, genre, and the likelihood that he or she might read the book. The tasting is timed to keep it moving. And so after a total of several, ninety-second tastings, kids are able to walk away with several new titles that could be considerations for future reading. This activity can be adapted to any size (I have had great success with it in the classroom).
There are times that I find my kids book hopping, and not finishing titles. I have also seen my kids plateau as readers. It is fun when we all work together and focus on completing a challenge that encourages reading and celebrating the success of others. It works well for us to keep a running list of books read on the refrigerator. We set a goal for a number of books to be read and immediately start brainstorming how to we will celebrate our success. It is nice to focus on working together and cheering each other on.