So I'll just stand here.

So here we have a mike at but if you can't
hear me or anything then just let me know.

All right so
this is a very interesting project that

that we have to do some recordkeeping
here first of all to point out that

this is truly an interdisciplinary team
something of this magnitude cannot be done

by one person or
one lab or one department.

We have people from
computing music psychology

OK Bruce here in the audience is
one of the the main movers and

shakers of the project and
we can do it without a real team effort.

Also we're happy to point out that we're
working with many of the organizations

here that support visually impaired
people in their daily lives and

also the aquariums that are close
to us Tennessee Georgia and

Zoo Atlanta we're also getting lots
of interest from other aquariums and

other facilities around the country too.

To hopefully expand as we can later.

All right.

So just to frame what we're doing here
in a bit of a psychological theory.

I want to point out that there are a lot
of things that we do in our lives that

are just to get by a lot of things that
we do getting dressed in the morning

feeding ourselves having a shower
getting to work all of these things

are are fairly basic needs
that we we have to satisfy and

mows low had this hierarchy
of needs that he laid out

where at the bottom of this pyramid in the
in the red we have the basic physiological

kinds of needs the things that you
really just have to do to survive.

And then as you go higher up
towards the peak of this pyramid

you have what he called higher level.

I'm in the it's.

Including safety belongingness that
the need to have friendships and and and

affiliations esteem confidence
respect from others.

And and this carries on up into sort
of cognitive needs the needs to

know things and to find out things and
be curious the things that we

have the issues that we need to
scratch in relation to beauty and

artistic endeavors and
then finally at the top of this pyramid.

We called self actualization and
transcendence which are sort

of these higher level aspirations
that we all want to get to.

The the fact that this is
a pyramid suggests and

is intended to point out that you
first have to satisfy the lower

levels before you can really work
on satisfying the higher levels.

OK.

It turns out that assistive
technology often tends to focus on

these basic lower level needs.

There is plenty of assistive technology
to help people get from place to place or

to make sure that their socks match or
to help them get feed themselves or

others and also communication this work.

Some of these slightly higher level
needs are generally addressed

through the system technology for
people who need it.

I'm making the claim and this project is
one effort in this line that we need to

focus more and more efforts in
assistive technology on a higher level

including aesthetic and cognitive
needs and make it more possible for

people with disabilities
to have these higher level

aspirations to learn things to
have affiliations to be creative.

All of these things that are very rarely
addressed through a system technology.

So this project is is

not suggesting that we don't address
the needs that are lower in the.

Pyramid.

We definitely need still to to
make people comfortable and

make sure that they are able
to get to work and so

on but we want to add more study of
these higher level kinds of things.

All right.

Now I mentioned disability and I want to
bring that into the discussion here and

certainly there are many more people with
disabilities where disability is you know

a lot of different kinds
of of impairments and

they're more often living in
the community as an example for

people with vision impairments often
the students or children with vision

impairments would live in a school for
the Blind a residential school.

Historically But
now those students are living at home or

living in the community and they're
going to public schools and call it.

Mainstreaming right.

And people are living longer
people are out there in the world.

As as we have more people with a variety
of disabilities in the world we need to

serve them and in that in light of my
previous life we need to serve them in

different ways not just making sure that
they get to a place to place but that they

have access to more knowledge and more
creative and aesthetic endeavors as well.

Certainly vision loss is quite
prevalent it's a growing problem.

Mobility impairments lots of different
aspects that we need to address and

always keeping in mind how can we

enhance the lives of these people
at this cognitive anesthetic level.

All right.

So you look at the Georgia Aquarium or the
Tennessee Aquarium or any IG aquarium or

a zoo or an art gallery or museum any
of these kinds of places are really at.

But.

Attempting to provide some information or

some opportunities at those higher levels
but they're typically very inaccessible.

What we can talk.

About accessibility on a number of
levels certainly physical access.

And we have all heard about
the Americans With Disabilities Act A V.A.

and how most buildings will be
typically in compliance with.

Which means they have a wheelchair ramp or
they have some very basic accommodations.

But the intellectual and

emotional access are not even
addressed in in the requirements.

So is someone able to get
access to the information.

Are they able to get something
out of visiting a museum or

an aquarium from the intellectual side
something that is even a well perhaps

I was never addressed as this emotional
access going to the to the aquarium.

Or to Izu or to an art gallery
can be a very visceral experience

you can stand and
be moved by the grandeur of nature but

if you're blind you got nothing nothing
on the intellectual side of it.

Nothing on the cognitive
nothing on the emotional side.

So we're trying to look at all of those

aspects in what are known as
informal learning environments.

So here's a case in point.

OK.

So let's let's experience this.

But let's all close our eyes so
so bear with me.

Close your eyes and tell me how beautiful
this scene is this is an amazing

scene this is my most favorite scene
at the at the Georgia Aquarium and it.

It really inspires me that you agree.

All right well you can open your eyes and
and it truly is amazing to go and

see a sixty foot wall of glass behind
which these gigantic animals whale

sharks and other kinds of of ocean life
are cruising and doing their thing and.

Here's some other.

Samples you just see these are amazing
things but they're behind glass so I hope

that you know you'll agree with me that
that's leaving a lot of people out there.

All right.

How do we deal with us.

How do we address this one
might say well for people with

vision impairments which is the group that
we're tend to focus on in this project.

Often where you sound to help them deal
with the fact that they don't see things

as well as or at all in an aquarium or
a new zoo or in an exhibit of any kind.

Typically the use of sound is background
music it's mood music it's elevator music

it's not informative in any way
sometimes there's a composer who has

been commissioned to make
the music Tyurin to the exhibit or

give some mood or set some mood.

So they're not completely out the music is
not completely unrelated to what you're

seeing but it's not driven by what you're
seeing it's not completely connected.

Further the music is composed at a point
in time and even though the music itself

might be dynamic in in that
it's that's being played.

It's not actually conveying
the activity within the exhibit right.

So what's actually interesting in
many of these exhibits is that they

move that they change the fish
are swimming and they go slowly and

then suddenly they move quickly.

The monkeys are playing and
throwing poop at each other and

this is the this the stuff
that we talk about.

This is the joy of going
to an exhibit again and

again and again it's always different.

But you don't get that
unless you can see it.

So we're trying to in include

the use of sound in a more structured and
more connected dynamic way.

So maybe we can use me.

To convey.

What's happening in an exhibit and
I just have to this.

This is one example of how something

so you can see there's a dynamic because

it's so.

Right.
So our approach is to actually track

the critters track the fish the monkeys
the zebras the animals in the exhibit.

Figure out where they are where
they're going what they're doing and

then convert that movement and
dynamic information into

some kind of audio typically music but
also other kinds of narration.

So this is basically just the start but
I want to give you a flavor for

what we're up to here.

The typical components here is
that we have fish videos or for

a camera monitoring aquarium.

We have some hardware some computer
programs that track where the animals

are the information from that
tracking service is passed on to

a music generation service
typically running max M.S.P.

which is just music creation software and
reason is another piece of music

creation software and all of this
just gets passed on to the listener.

So it's a fairly straightforward
pipeline if you will but

each stage is quite complicated in and
in and of itself.

All right so I'm going.

To talk about a number of
the the the aspects here but just

basically to give you a feel for how many
different questions we're asking here.

The first thing that you have to consider
is what do people want to listen for

what do they want to know about and
what is salient So

if you went to the to the aquarium and
you stood in front of an exhibit.

What would you be looking for and
what would you want to know about it.

So we showed videos of
aquariums to undergraduate

participants and we said you know what
are you looking for what catches your eye.

What do you want to know
about what intrigues you and

trying to get at this
question of saliency.

It turns out that color
is obviously salient and

as a size behavior event so
when a fish arrives or

leaves or
when two fish interact in some way.

Those are all salient kinds of things.

So those are going to be useful for
us as we move forward and

design a system that can do this
automatically we can look for

different colors we can look for fish that
are unique in terms of their size all of

the things that are salient to the visitor
we can keep on those in our system.

So that's the kind of perceptual work
that we're doing in the psychology labs.

Then we take that information and
make some some music from it.

This is going to progress
a project that's been developing

slowly over the last two or
three years and we started by just using

videos we didn't have cameras and we
didn't have a fish tank and we were just

basically mocking up were faking some of
that stuff because it wasn't the the hard

part as far as we were concerned we
had an ugly simulated fish tank.

It was all done in software
in virtual reality but it.

The job for us.

It allowed us to convince ourselves and

some others that this is actually possible
and now we've got a full pipeline that

includes cameras monitoring real fish or
ants or other creatures connecting

to a live computer music generation
system and we can get real time feedback.

In addition our visitors our
listeners can interact with

the system so that they can say I don't
want to hear about this animal or

I don't want to hear about that animal and
so it's a complete system not.

At this point.

Our job is to make it sound good and
to sound right.

And these are the challenges.

So I can show you some of the things that
we've tried and this is a bit of show and

tell here to give us a feel for
how we can take the movements and

map them onto onto musical instruments.

So in in the video I'm going to start with

you'll see that each fish is mapped
onto a different instrument.

So each fish is played by or
is playing a particular instrument and

this video you'll see
that the the the fish or

the instrument if the officious
to the left of the tank.

Then the instrument seems to
come from this left speaker

as the fish moves across to
the right side of the tank.

You'll hear the sound go with it and
it should come from the right side

if the fish goes up in the tank then the
notes will get higher and pitch bum bum

bum bum bum bum bum and as the fish
comes out bum bum bum bum bum bum bum.

You'll see that descending in pitch.

We would also mouth things like as the
fish were closer to you would be louder.

If it went away from you would be softer.

So there's a fairly
straightforward natural mappings.

Now we can bop you over the head with
these straightforward mappings and

the and the sounds of the music might
be informative but it might be boring.

It might be an interesting enough musical.

So we've Well we've done some of
that hopefully learn from it but

we're also trying to make it
aesthetically pleasing as well.

And so you'll see that we've layered
this on top of a musical structure so

that you can feel that this is music and
not just random sounds.

Right so let's see.

Here's an example talk over
a little bit on the screens

and there's the

listening to

the right

here that has the full swing

and of the top cop right.

Screen so
to hear the sound of the hear that.

Before I can see that

he's disappeared off the screen.

You can learn all of the different sounds
on up there with the different fish.

All right so
you hopefully get the idea that

there can be lots going on in the in
the fish world and we need to be

able to represent all of that
complexity in the music world as well.

Immediately we start to ask questions.

Does it sound good and in this case I
think it sounds OK it's not the most

sophisticated music but it's all right.

And then is it informative.

If you were a school child or if you
went to the exhibit and saw the world.

You were in front of the exhibit and you
heard this would you be able to tell me

how many fish there were how many
big fish I mean small fish and and

probably not right.

So we have this tension
this balance between.

What's not with attention is just
two different constraints that we

want to satisfy one is the informativeness
and the other one is the aesthetics.

So this one.

I think is is OK on the aesthetics and
not so

great on the on the informativeness
Now what can we do.

Well one thing we can do is change the
design of the music or the composition.

Another thing we can do
is change the listener.

How do we change the listener but
we train them to fight when I explain to

you how to listen specifically for the for
the high hat and map that onto the turtle.

Hopefully you kind of got it a little bit
and we could have done that same exercise

where I would point out maybe by soloing
it through the music have some little

training session and
maybe after ten or fifteen minutes.

I would teach you what
the the the the clownfish sounds like and

teach you what the turtle sounds like and
teach you what all these different fish.

Sound like and
you can pull it all together so

training composition all of these
things are parts of this the challenge.

All right.

We also want to look at different
kinds of species partly

because this was of interest to some of
the team members Tucker and computing for

example was not so into studying fish
he was studying insects and and ants.

So in a collaborative sense we have to go
where the people are interested in going.

And so we looked at these ant videos.

They're interesting in a number of
ways one way that they're particularly

interesting is that the ants
are all effectively the same

they look the same we can't
distinguish them visually and look.

Unless you look very very closely and
they have some markings on them.

So that presents a challenge.

We still in this particular case
used one instrument per ant.

But we also did things like tempo

of the music is being driven by the speed
of the ant So if the ant is going slowly

is just hanging out in one spot there
are relatively few notes bomb bomb bomb.

But if that Ant really starts cooking
across the inclosure bump of a bump bump

bump bump we can increase the tempo of
the music to convey the speed of the end.

So we can do all kinds of things here.

We have a left right up
down kind of thing and

another aspect that we were playing
with in this particular set of videos

was that we can have the exact same video
drive completely different music and

that's going to be necessary if if any
of us adults went with a school group or

a children to the aquarium.

I might not want to hear
the Disney themed music.

I might prefer you know eighty's rock or
more classical music but

my child would be
completely bored by that.

So we need to accommodate different less.

Nurse and see whether different genre
of music can still be aesthetic and

informative.

So I will show you a couple
of videos too to convey this.

Let's go this way.

OK here the ants

soon another ant will join
up with your new instrument

is the answer for meat top or
bottom left or right there.

They're insist on

playing there and they're all together on

our way through and
this is when goes with them.

The much of

the piano the guy with you know
just hanging out in the middle.

So there's not much activity from him.

So there's a few notes.

Whereas the guy behind
not proven quite a bit

in your idea perhaps with some training.

There's this thread X.

and again this this idea of does it sound
pleasant but also that informative.

Let's look at the the other
version of this.

Where you can have the exact same
video the exact same experience

in terms of the exhibit a different
music structure to have

on the back I joined us

earlier that it was just the luck of

the banks was the end

of the hour.

So you get the you get
the idea that we can

have the same video driving
very different musical types.

We're never going to lose sight of the
fact that that just because we can design

something that sounds OK doesn't mean it's
actually going to do any good for anybody.

Right.
We always have to be at their own

biggest skeptics and

make sure that we're we're adding value
in that we can evaluate these things but

it early in the project we were mostly
exploring the space and try to make sure

that we could do something and show some
diversity and and push the boundaries.

All right so we did some other things
in this case we took the ants and

tried to look at sort of met a property so

instead of focusing on one particular
area people said I can't follow one ant.

Well why don't we map the density
of the ants on to some kind

of overall factor and we could divide
the the space up into quadrants and

and for each ant we add.

That answer to that quadrant.

And when the answer in different
parts of the the enclosure

the music would be would reflect that.

But when they all come together
the music would reflect that as well.

So again these are just
pushing the boundaries and

saying what we can do in
these different spaces.

So let me get us to that

again this is just to convey
that one little aspect you'll

see that and hear that the answer quite
diverse than the ads all come together and

you'll detect a very distinct
change in this in this music

so

also the three of them are contributing
to the bottom right or

the most spread out again
in the music reflects that.

So again we're just trying to different

different approaches here and it's
somewhat of an experiment at this stage.

OK so now we get to the point where
we were actually using live videos or

videos from from the actual aquarium and

we thought aren't we can continue
exploring this music space and

of course we did and we still are but
we want to start adding other features so

perhaps narration why not add
some spoken commentary and

here's just a very rudimentary
example of how we can define a space

within the within the exhibit and

if a fish enters that space we can
automatically play a pre recorded.

Narration You could do all
kinds of things you could

have the the space in the middle of
the tank and when the clownfish came in.

You could say Hi I'm new.

Well welcome to my aquarium.

Right.
You could do all kinds of things.

So here's an example of one
thing just to make the point.

This is found in the depths of

I mean

that's that's just proving the point that
we can we can do different things here.

So again we're we're trading or
looking at these two

constraints one is it as Thetic and also
as it informative clearly by adding these

spoken narrations we're increasingly
in information value and we have to

see whether that's going to increase or
decrease the overall is that experience.

OK So there you have it.

Our Then when we finally felt
comfortable enough if we could convince

the National Science Foundation that this
is it worth playing with some more and

exploring and so they gave them gave
us some seed funding to set up a sixty

five gallon of fish research facility

a fish tank and we have cameras
pointed at it and computers and

it's the full pipeline of interesting you
know study of the movements of the fish.

You can see this aquarium if
you're over in other technology

Square Research Building.

It's on the third floor window so
that's why the elevators.

So it's basically Game on.

Now we can do all kinds of things and and
roll in the computing group and the H.C.I.

people in the music and and then also
start to look at the human listeners and

the docents and in the fall I get
you right so here's an example

of our on

the screen grabs not as as nice as
we'd hoped but you get the idea.

You know we're going to try to.

All right so
you get the impression of true.

We can track these things in
real time we can make music and

again all of the possible music
composition spaces is available to us.

To try to find things out.

It's turned out that we have
a lot of really interesting music

being generated now from
this research facility.

So we can really push the boundaries and

understand what works well
is that if they what works.

Functionally what works for both and
some other things were developing now

are really well I guess they're
making us all believers.

We can take this now to the Georgia
Aquarium or to the Tennessee Aquarium and

and show them and they get it and
they see that this has the production

they can have the production value
of the quality the aesthetics and

also the functionality to provide
an enhancement to their existing exhibits.

So a couple of months ago at
the Georgia Aquarium is diversity

days we did a demonstration
where they gave

us some video of this actual fish tank and
if you've been to the aquarium This is

the last last tank you see
on your way out the door.

It's it's in the entrance to the gift shop
and you passed by it on your way out of

the aquarium and so the question
was you know how would this sound.

We had the the live tank there and
then right beside it.

We had a a large flat panel monitor
set up in the same orientation.

Right.

The audio and the video and people walking
by were just amazed they first walked

by and I'm like what's that just sounds
like yet more of the mood music yet more

of the music that they've heard throughout
but when they stop and they read the signs

and they talk to us and then they see
well that fish made that sound they

get it they see the correlations between
the dynamic movement and behavior and

the music they were really
impressed both the staff and

also the visitors that were there and
the visitors in this demo period for

days a lot of them were visitors with
particular functional limitations so

it was quite quite compelling.

So let's look at some of these things.

That's right here we go and
all right so this one

is the music that was generated by our
computer program a computer program.

So just like the house we have video of a

particular fish many fish are the music

out of exhibit what is
this really emotional.

When you watch it with this with
a computer came up and goes on and on

just for interest.

We also had one of our composers.

Create his version based
on the same video.

He said well if I were composing it and
adding sounds in manually and writing

the score and not just let it computer do
what the algorithm kind of came up with

accidentally or or serendipitously
this is what he came up with

so it can support in the same
general there's some think it

was related to the smaller
amount of the microscopic

but this is actually

over four days.

So you get the idea of what
we're trying to go through here.

All right.

So a big part of this has to be and
we're researchers and

we we can't just to show and
tell we have to be doing research and

publishing and
this is as not just you know.

So we have to evaluate what we're doing
and always as I said be skeptics and

make sure that we're trying to make sure
we add value and that we're making some

advances and you know we're we're
always doing some evaluation.

We're doing evaluation with
a variety of listeners sometimes if.

People who can.

Can you know see both see the video and
hear but we're also working with low

vision and completely blind individuals
and many of our research projects and so

we're getting them to listen
to these things as well.

And we want to assess again
the functional but also the emotional and

aesthetic aspects of what we're
doing here and try to do so

in an really replicable scientific
ways that involved in purity of

evaluation quantitative measures as
well as people sort of qualitative.

Assessments so
evaluation is a big part of this.

Right now I want to point out where we're
at now we've got this pipeline we have

this system and we're starting to build
different versions of options and

try things and evaluate them.

A big thing that we're looking at now
is what we're calling dose of studies.

If you step back for just a moment and
think the whole purpose of this is to take

a visually interesting dynamic exhibit and
interpret it.

Communicate it to someone who
can't see the visual experience.

So I fume and does that all the time
in terms of a docent or tour guide.

They look at what's going on and
they communicate it so

we're looking at a dose astonished
on how they do what they do.

We're also looking at better
music different creatures work.

We were at the zoo the other day and
it turns out that their mere cats

may be may be a very nice exhibit for
us to to work with.

You know we can have other
other environments you know

sort of three dimensional spaces.

We can have mirror cats we can have
solar systems anything that is dynamic

that is where the dynamics of
the movements is actually the interesting

stuff we can try to turn that into sound
will be installing this in aquarium.

Hopefully probably starting in
in Tennessee and then the big

thing is not just where are the fish at
any given moment but what are they doing.

Are they fighting.

Are they.
Mading are they feeding are they hiding.

What are those are the interesting things
that when we look at a an exhibit we see

some movements and
we try to infer behavior.

Look at that sudden acceleration.

Well that's because that other
fish was nipping at its tail and

we can do that and and
experience that by seeing it

can we convey the same kinds
of information through sound.

Well if we have the computer system
performing that behavior recognition.

Then by all means we could if we
see some kind of flurry of activity

that suggests one animal was nipping at
another we could play a musical flourish.

Or we could play a pre recorded
animation to just see that one fish.

You know nip at the other one and
just sort of point these things out.

So lots of things going on.

We're also trying to fit this within
more of a theoretical framework and

expand and extend the understanding
of how exhibits are designed and

how people interact in exhibit so we want
to improve the knowledge in that space and

a really a big part of it comes down
to how as an exhibit the information in

exhibit directly impacting or
influencing or being interpreted by

a visitor here you see a gray line and a
gray arrow from the exhibit to a visitor.

And how does the process of mediating or
facilitating or

interpret in the exhibit happen.

So if there is a docent that says
look at the turtle the docent is

seeing the turtle and then it's
communicating that to the visitor or

if there were a blind visitor and
that person came with a friend.

How is the friend viewing the.

Bit and then interpret what's
going on to the visitor.

There's a lot of complicated
things going on here.

If you think about it.

For example the.

The docent or the facilitator or
the tour guide or the friend has to

have some mental model of what the the for

example the blind child
wants to know about and

how that person like to hear about things.

Do they want to know about NEEMO OK.

Do they want to know the biological
name do they want to know where

that fish is from do they want to
know what that fish would eat.

What are the things that
are interesting for

that person then they have to inspect
the exhibit they have to look at it.

Find some salient activity or behavior or

events and again we had to we started
from this premise of what is salient

then they have to interpret all of that
and convey it to that to the blind

child in a way that that particular
person would understand.

So it's a complicated process
we can be inspired from from and

we can learn a lot from just classroom
settings that a lot of teaching is really

knowing your audience and then conveying
and interpret ing some content to them.

The key about this.

That's different is that it's happening
with respect to something that's always

changing.

And so it's it's.

It's a little bit of teaching and a little
bit of a baseball commentary play by play.

It's a little bit of all of
these things rolled together and

we're having to really pull some different
but related topic areas together to

to add some theoretical
underpinnings here.

All right so other future directions.

You can imagine that if the fish are
driving some music they're generating some

music we could have humans
interacting with that music and

effectively interacting with the fish.

So imagine you went to.

As night at the aquarium and you had a
quartet playing with the fish as it were.

Now the fish are not going to be
able to react to the players but

the players can certainly react to
the fish and if the fish do something

unexpected then hopefully
the human musicians would

react to that in some way perhaps echoing
that unexpected musical occurrence.

So lots of possibilities here and
this is where some of our colleagues like

a Weinberg in music are already exploring
the space with the robotic drummer and

they have devices that
interact with human players.

So there's this human technology
interaction already happening.

So we're just taking it to sort
of a natural extension here.

OK so our latest compositions I'm going
to play for you just the audio so

that you can experience the sounds
of things and really just

share with you that we're continuing to be
more and more sophisticated musically and

I think we're finally getting
there where we where our hopes for

communicating what's happening in
the tank is really straightforward

if you watch the video and listen to
the music you say yes definitely.

I hear that music represents that fish.

So they're both aesthetic and

functional because of that
now there's the music

just

listening but
if you had earlier we heard the fish

are so

in your early.

Going on a visual

image of this and

I'm happy to entertain any questions or

indeed I'll summarize the questions
are we adding a layer of storytelling and

what we might consider narrative
to this whole effort and and

the short answer is yes by all
means we totally understand that

when people go to go to these exhibits.

It's not just a second by second

recounting of what's happening which is if
you listen to a baseball game on the radio

part of it is the play by play and
tell me who's pitching and

what what they're throwing was
a curve ball or a strike and

some of that is that it's necessary
to to to get things along the.

But the expert commentaries
the commentators especially on the radio

they add in so much other stuff right
because they know that you can't see it.

They know that their listeners
are on the radio and

they'll tell these anecdotes back when
millions will amazed at this sort

of back when Fulton County Stadium before
this and they have these anecdotes.

They also describe things in very
colorful way as I grew up listening to

Hockey Night in Canada on the radio and
the same thing applied there.

The dynamics of who had the puck and
where they were going was was crucial.

But it was a special sauce is
the speak the extra narrative it

wasn't just the deal for had the puck.

It's that he was racing up
to the side of the ice and

his golden locks were flowing
in the wind right him and

everybody knew that he was skating quickly
because that would cause his hair to fly

back he didn't wear a helmet and this was
part of the narrative part of the story we

can also adjust the narrative for
the listeners and

you can imagine if we have an exhibit
that involves clownfish and sharks.

Disney is all over that and you can say
there's an emo inverse the shark and

and tell a story or
tie to some other story

that the students already know
we can do that with spoken

narrative we can also do that with music
and with a combination of first Peter and

the wolf is a classic example
where you've got a symphony.

That's telling part of the story you've
got the music in the instruments

representing different aspects of it and
then you've got spoken narrative that ties

the whole thing together
by all means Questions

with it.

I'll just turn up the music and
thank you get

shot.