Protocol for Looking At Writing Tracker Evidence and Content-Area Text Comprehension

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Protocol for Looking At Writing Tracker
EvidenceandContent-Area Text Comprehension

• Literacy in Action
• Module 2

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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?

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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?

4
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?

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Text Comprehension

• Participants will learn how to use Guided
  Highlighted Reading for two purposes.

• Answer multiple-choice questions
• 2. Write summaries with evidence

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Your turn

• At your table talk about strategies, activities,
  and protocols you use to help your students
  comprehend text.
• Share

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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.

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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 twentiesin Chicagois 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

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Your turn

• Read A History of Jazz
• Answer the multiple choice questions.

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Your turn

1. Write a summary of A History of Jazz
2. Use the scoring rubric to guide your thinking.
3. Tally your score.

rubric
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Rubric for Scoring Summary
CC Reading Anchor Standard 2 3 Complete 2 Partial 1 Minimal Score
2. Determine central ideas or themes of a text and analyze their development summarize the key supporting details and ideas. 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) 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) 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
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Guided Highlighted Reading for Answering
Multiple-Choice QuestionsMatch 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.)
•  

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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.

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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)
•  

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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.

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Rubric for Scoring Summary
CC Reading Anchor Standard 2 3 Complete 2 Partial 1 Minimal Score
2. Determine central ideas or themes of a text and analyze their development summarize the key supporting details and ideas. 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) 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) 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
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Tally your score and record your success
Name Topic Multiple-Choice Test Pre Post Summary Pre Post Recommendations Next steps Date To Review
History of Jazz
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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? Whats the connection to me?

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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 30s, swing became very
  popular, but its popularity waned because it was
  over commercialized. (detail/evidence, CC2) GIs
  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)
•  

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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.

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Your turn

• With your content-area group
• Read your content passage.
• Read and answer the multiple-choice questions.

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Preparing for Guided Highlighted ReadingMultiple
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

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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.)

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Share

• Content-area groups will share some of their
  prompts with the other groups.

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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, authors 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

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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.

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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

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Chart of Evidence of Text Comprehension Success
Student Name Topic Multiple-choice Test Pre Post Summary Pre Post Recommendations Next steps Date of Review










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Evidence of Text Comprehension

• Select a text that is too difficult for your
  students to comprehend without teacher support.
• 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.

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Instruction/Scaffolding for Text
Comprehensionand 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.
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Four Essential Questions In Close Critical
Reading

• What does it say?
• How does the author say it?
• What does it mean?
• So what? Whats the connection to me?

The last three questions will be developed in LIA
Module, Close and Critical Reading
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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.

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Thanks for your professionalism.

• Good luck with your project.
• We will see you at the next session which is
  Module 3 Vocabulary
• .