At the outset of his article, “A typology of ‘hooks’ in popular records*,” Gary Burns says, “According to songwriters Al Kasha and Joel Hirschhorn, hooks are ‘the foundation of commercial songwriting, particularly hit-single writing’” (Burns, 1987: 1) Burns goes on to note Kuroff’s (1982) definition of a “hook,” which is described as, “A memorable ‘catch’ phrase or melody line which is repeated in a song. The author also references Bennett’s (1983) definition, which summarizes “hook” as an “attention grabber.”
After reading about and listening for the “hook” in various articles and songs, I couldn’t help but think about the “hook” heralded by Madeline C. Hunter in her (7-step) lesson planning and delivery model. In the Hunter model, the “hook” is referred to as the anticipatory set.
According to Thomas H. Allen, Ph.D. of Humboldt State University,
“Anticipatory set or Set Induction: sometimes called a "hook" to grab the student's attention: actions and statements by the teacher to relate the experiences of the students to the objectives of the lesson. To put students into a receptive frame of mind.
- To focus student attention on the lesson.
- To create an organizing framework for the ideas, principles, or information that is to follow (c.f., the teaching strategy called "advance organizers").
- To extend the understanding and the application of abstract ideas through the use of example or analogy...used any time a different activity or new concept is to be introduced” (Allen, 1998).
Beth Lewis also elaborates on this second step of an adapted version of Hunter’s seven step model, stating, “The purpose of the Anticipatory Set is to:
- Provide continuity from previous lessons, if applicable.
- Allude to familiar concepts and vocabulary as a reminder and refresher.
- Tell the students briefly what the lesson will be about.
- Gauge the students' level of collective background knowledge of the subject to help inform your instruction.
- Activate the students' existing knowledge base.
- Whet the class's appetite for the subject at hand.
- Briefly expose the students to the lesson's objectives and how you will get them to the end result.”
While not identical, I was surprised at how similarly “hook” was characterized by each of these writers. In each definition, a few words grabbed me (or, perhaps I could say served as hooks) and the idea of impressions (first and lasting) came to mind. As it happens, another author made a similar connection… in the realm of learning (and lesson planning).
“First impressions are important, and the beginning of your class or lesson is no exception. You have certainly experienced how important first impressions of people or places [or songs] can be. Research in learning validates that effect. Information introduced at the beginning of any sequence is more easily learned and better remembered than equally difficult material encountered later in that same sequence. … The beginning of any class or lesson is the prime time for that learning. Obviously, when certain material is more vivid, more meaningful, or more interesting, it will be more easily learned and remembered regardless of its position in a sequence.” (Hunter, 2004: 38)
Hunter, R., & Hunter, M. C. (2004). Madeline Hunter's Mastery teaching: Increasing instructional effectiveness in elementary and secondary schools. Thousand Oaks, Calif: Corwin Press. Retrieved from http://books.google.com
I think it is the last sentence the most aptly summarizes the ultimate (or desired) role of the “hook”. Certainly, in order for learning (or gifted listening, as Copland might say in the world of music) to take place, there must be more than that one moment when all eyes (or ears) are attending. It is not just the first impressions that matter, it is the lasting impressions that make the difference. Hooks must be more than head turners; they must be mind movers.
After the hook, one must hold.
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