«ii , . USI JIJIII|II MJ M mwm mmm ?f(v?j.''i' ^p i'MII A RESOURCE BULLETIN GRADES ONE-TWELVE NORTH CAROLINA PUBLIC SCHOOLS THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA THE COLLECTION OF NORTH CAROLINIANA ENDOWED BY JOHN SPRUNT HILL CLASS OF 1889 G375.78 N87p This book must not be token from the Librory building. Form No. 471 PUBLICATION NO. 295 MUSIC A RESOURCE BULLETIN GRADES ONE -TWELVE Issued by fhe STATE SUPERINTENDENT OF PUBLIC INSTRUCTION RALEIGH, NORTH CAROLINA ON LISTENING TO MUSIC Music is a magic word. It is a bubbling brook on a mountain- side, and the wind whistling through a lone pine tree. It is the story of a man who has something to tell, but cannot find words. It is something a man can feel, know and trust. Music has a thousand stories to tell. Each one is different; each one is original. It sings of a harp and a violin. It tells of a mandolin and a darky chanting Foster's melodies, and a black-faced showboat singer doing ''Ole Man River." Music tells of Caruso, of Jolson and Crosby. It means a gallant opera, and a skipping dance tune. Music is the bread of man. It allows him to win wars and worship God; to sing of love and mystery. Music is the soul of a man that sings with the angels ; it is the heart of man that gives him courage and faith. Music is so great that old men shake their heads, yet so simple a child can understand. Music is a gift. It hides inside a man until it must burst forth with the force of the greatest winds and highest seas. It is a magic word; it is a thousand times and places. It is, it must be, a gift from God. GILBERT BEESON, 11th Grade Red Springs High School FOREWORD Music is correlated and interrelated with the entire school curriculum. Appealing to the aesthetic, spiritual, emotional, and physical nature of the child, it is adaptable to every age and interest level and to every degree of mental and physical de- velopment. It expresses the finest thoughts and aspirations of mankind. It is a cultural force in elevating the quality of the home, the school, and the community. It is desirable, therefore, that schools afford children an opportunity to understand, in- terpret, appreciate, and make good music. This publication has been prepared as an aid to teachers in improving their instruction in the area of music education. It is intended as a guide in the use of teaching materials and as a source of reference for both the classroom teacher and the music specialist. Through close cooperation between the school administrator, the music specialist, and the classroom teacher, our program of music can be strengthened and the lives of our boys and girls greatly enriched. State Swperintendent of Public Instruction May 20, 1955. iv ■■>;.> ^ I AM MUSIC Servant and master am I ; servant of those dead, and master of those Hving. Through me, spirits immortal speak the mes- sage that makes the world weep, and laugh, and wonder, and worship. I tell the story of love, the story of hate ; the story that saves, and the story that damns. I am the smoke which palls over the field of battle where men lie dying with me on their lips. I am close to the marriage altar ; and when the grave opens I stand nearby. I call the wanderer home, I rescue the soul from the depths, I open the lips of lovers and through me the dead whisper to the living. One I serve as I serve all ; and the kind I make my slave. I speak through the birds of the air, the insects of the field, the crash of waters on rock-ribbed shores, the sighing of wind in the trees ; and I am even heard by the soul that knows me in the clatter of wheels on city streets. I know no brother, yet all men are my brothers; I am the father of the best that is in them, and they are fathers of the best that is in me ; I am of them, and they are of me. For I am the instrument of God. I AM MUSIC. PREFACE This music bulletin has been prepared with the belief that teachers will find in it new insights into the importance and place of music in the lives of boys and girls. It attempts to provide for both general and special teachers in not only the "why" but the "how" of music education. This guide is the joint product of music educators in our public schools and the advisory staff of the State Department of Public Instruction. We should especially like to acknowledge the contributions of the following: Public School Music Specialists Chrystal Bachtell, Robert Barnes, Annie Gray Burroughs, Carl Cronstedt, Katherine Detmold, Jean Dickerson, Mildred Doub, Richard Ebert, Helen Graham, J. Kimball Harriman, David Helbert, Birdie Holloway, Eugene Hood, Carlotta Jacoby, Evelyn Johnston, Julia Lawrence, Margaret Marsh, Adeline McCall, Jean Miller, Colleen Moon, Annie Ryan, Charles Taylor, Eva Wiseman, Ruby Woolf, Annyce Worsham. Department of Public Instruction Advisory Staff Arnold E. Hoffmann, Advisor; Pauline Bell; Ruth Jewell; Doris Kimel ; Ruth Chastain Parker ; Bobbie Lorraine Pritchard ; Rosalind Rawlings. In addition we wish to thank L. H. Jobe, Director of the Division of Publications, for his help in editing the manuscript; Richard P. Leaman of the Division of School Planning for the cover design and other art work; and Mrs. W. M. Cobb, Jr., for her painstaking secretarial service. A. B. Combs, Director Division of Elementary and Secondary Education Allan S. Hurlburt Assistant Supermte7ident For many, a musical career has its foundation in the school music program. CONTENTS Page INTRODUCTION— Music for Today's Schools __._ _. 9 SINGING 12 Singing Experiences 13 Voice Characteristics, The Pitch Pipe, Suggestions for Presenting a Song, Songs that Motivate Singing, Singing in the Classroom, The Classroom Teacher, Resources, Song Recordings — Selection and Use. Part Singing ___. 22 Accompaniment 24 Special Groups 24 The Assembly 27 Music Reading 30 RHYTHMIC EXPRESSION _ 44 Purposes 44 Development Growth (First through Eighth Grades) 46 Fundamental Rhythmic Movements 53 Experiences in Rhythmic Expression 55 Singing Games — Folk Dances — Square Dances 63 LISTENING ._.- 64 Recordings for School Use ____ 64 Recordings for Lower Elementary Grades 68 Home; Community Helpers; Animals; Insects; Flowers; Toys; Our Country; Weather; Travel; The Beach; The Fair, Circus and Zoo; Life of the Past; Cowboys; Stories in Music; Quiet Music, Activi- ties, Rhythm Instruments, Fundamental Rhythms, Contrasts in Music. Recordings for Upper Elementary Grades 77 America; Mediterranean Countries; Asia; British Isles; Central Europe; Scandinavian Countries; The Americas; Story Music; Composers and Their Music; Seasonal Music; Worship in Music; Music and Art; Mood In Music; Form In Music; Program and Ab- solute Music; Opera, Operetta, Oratorio and Ballet; Vocal Music, Insti-uments of the Orchestra, Teaching Aids. MUSIC IN THE INTEGRATED PROGRAM __.. 103 Letters Explaining Development of a Unit 103 Teacher Resource Information 111 Music in the United States, American Indian, Mexico, England, Spain, Primitive Africa, Egypt, Ancient Greece, Russia and China. SOCIAL MUSICAL INSTRUMENTS 141 Xylophones and Bells, Song Flute or Tonette, Autoharp, Keyboard Experiences, Harmonica, Ukelele, Use of Other Social Instruments. CONTENTS Page INSTRUMENTAL MUSIC IN THE ELEMENTARY SCHOOL 153 Fundamental Principles, Organization of Band and Orchestra, Ad- ministration of Instrumental Music Classes, Hints for Instrumental Teachers, Types of Performances, Materials and Equipment. GENERAL MUSIC IN THE JUNIOR HIGH SCHOOL 166 Organization Units : 1. Notes on the Music Makers 167 2. American Music 169 3. Popular Music and the Classics 176 4. Music Experiences for Richer Living 181 5. Music and History in North Carolina 182 6. Folk Music of the South 186 SOCIAL INSTRUMENTS IN THE JUNIOR HIGH SCHOOL MUSIC PROGRAM 188 VOCAL MUSIC IN THE SENIOR HIGH SCHOOL 189 Administration, General Assembly Singing; General Choral Groups; Selective Choral Groups; Class Voice Lessons; Operettas, Pageants, and Opera; Cantatas and Oratorios. INSTRUMENTAL MUSIC IN THE SENIOR HIGH SCHOOL 204 Administration, Materials for Beginning Instrumental Classes, Ap- plied Music Study in the High School (Regulations and Course Out- lines for Each Year.) THE GENERAL MUSIC CLASS IN THE SENIOR HIGH SCHOOL __., 227 Organization Units: 1. Music in Recreation 230 2. Music in Worship 231 3. Music of Our Serious Thoughts 231 SYMPHONY AND OPERA IN NORTH CAROLINA 233 North Carolina State Symphony 233 Grass Roots Opera 234 "The Old North State" 236 DIRECTORY OF MUSIC PUBLISHERS -. 243 INTRODUCTION MUSIC FOR TODAY'S SCHOOLS In a modern school, music activity enriches the entire school program. Music should be a genuine part of general education, rather than an isolated series of music "lessons". In the past, the term "Public School Music" reflected the thinking that there was one type of music taught in school and another type con- sumed in daily living. Today, the term "Music Education" con- notes that all types of classroom activity may be enriched through the contribution which music can make. The technical aspects of music are still being taught. Such understanding is a necessary outgrowth of whatever activity is going on in the classroom. Use of music symbols and techniques in such a setting will be meaningful and long remembered by children. The place of music in the school 'program may be stated in terms of: Music for Recreation : A little deviation from the routine of regular class activities is always welcomed by both teachers and pupils. After a concentrated study in arithmetic or social studies, a song or a singing game will serve as a rejuvenation and refreshment of spirit and clear the atmosphere for the class activities to follow. Music for recreation is usually something the class knows well, something in which everyone can par- ticipate wholeheartedly. Music AS A Conditioning Force: In every classroom comes the moment when a change from a strained situation is welcome and necessary. The wise teacher uses music to project the minds of her pupils into an entirely new avenue of thought. After a recess period when children return to their classroom, much con- fusion can be avoided if children are allowed to relax by reading, drawing or just sitting quietly while they listen to some recorded music. Music is used to condition the thoughts and feelings during the lunch period. Stores and factories use music as a back- ground for many types of activity in order to control the at- 10 Music in the Public Schools mosphere or mind of the worker. He may not listen to the details of the music, but will be influenced by the mood produced by it. Thus music becomes a tool to stimulate a complacent mind or soothe the over stimulated situation. Music Which Is Associated With Basic Classroom Activ- ity : Music offers an opportunity for the enrichment of the en- tire curriculum. The social studies take on new meaning and excitement when the record of the past and present is studied through the rich associations produced through music. The political, social and economic progress of any national group is plainly visible through the songs, dances and instrumental ex- pression of the people. Music Theory : The technical aspects of music which include the understandings of the printed page, note reading and no- menclature of music must continue to be emphasized. Not through isolated "lessons" in music theory, but taught as neces- sary tools and information as necessary to the fulfillment of all musical activities in the classroom. Thus music theory becomes a functional part of every phase of music activity. The music specialist is used as a resource person for the entire school program. To serve in this capacity, the schedule of the specialist should be flexible to allow for maximum aid to the general classroom program. In making the transition be- tween the traditional program (which asks the music teacher to teach a music program on a prearranged schedule) and the new program (which allows the specialist to enrich the total curriculum), it is suggested that a small amount of time be set aside as an '"on call" program. Teachers requesting "on call" aid should make requests in writing or personal consultation, outlining the type of service desired. More "on call" time may be made available as the program grows. In some situations the entire time of the specialist may be "on call". Careful planning between the classroom teacher and the music specialist is im- perative in order to insure success of the program. In the 8-4 plan of school organization, it is conceivable that the specialist would give more of her time to the upper grade program, since the techniques involved are more difficult than in the lower grades. In a departmental junior high school pro- gram, the music specialist would teach the scheduled music Introduction ll classes and serve as a resource person to the subject area teachers. High school subject teachers are making increasingly more demands on the music specialist in an effort to enrich their regular class work. The classroom teacher should be responsible for the music program in her room. She should receive every aid possible from the music specialist. If the classroom teacher feels totally incapable of teaching any phase of the program, she can at least present a positive and cooperative attitude in the class- room by participating in the activity and by making an effort to learn as the pupils learn. The music room should serve as an all-purpose room. It should be used by the music specialist and classroom teachers whenever there is need for a large space for bodily movement and for the use of the many music materials and equipment housed there. The assembly program should be an outgrowth of classroom activity, rather than a program rehearsed to exploit a few talented children. Instrumental music classes for elementary school children should be so scheduled that no participating child will be absent from a class activity in any given area more than one time per week. A satisfactory solution of this problem rests in the careful planning and cooperation of the school principal, the classroom teacher, and the music specialist. Marks for achievement in the music area are not necessary. If marks are given, they should be reported by the classroom teacher in consultation with the music teacher. Sinking in small groups promotes mpre independent and concentrated ensemble techniques. SINGING Because everyone is equipped to some degree by nature to participate in singing, it is the basic activity in music education. Boys and girls should never be denied the privilege of using and developing the most expressive of instruments, the voice. Sing- ing, as a child's first group participation, paves the way for social development in many phases of life. Participation by boys and girls in singing groups of a community nature leads to a large fellowship with people with whom they work and play. Speak, mid you are viy felloivman. Sing, and tue are brothers! (Hippel) Singing 13 SINGING EXPERIENCES Experiences Singing should provide many worthwhile ex- and values periences. • Children enjoy learning songs which are adapted to their age and experience and are related to their school, home and com- munity life. • Children with vocal problems respond to individual and small group attention. • Children with emotional problems find in singing a desirable outlet. • Singing provides opportunity for individual creative ex- pression. • Learning to read a score is to begin literacy in music. • Intercultural appreciations and understandings can be devel- oped through acquaintance with great artists and composers through their music. • Musical talent finds expression and development in individual and select group activities, such as chorus. • Singing in such activities as assemblies, rallies and homeroom meetings encourages all students to participate in the program and helps to develop group coherence and a feeling of be- longing. Voices of Children's voices run the gamut of individual growing' boys differences. Some "sing like angels," while and girls others seem "to have no music in their souls". A wise teacher understands the individual dif- ferences of children and works to help each child do his best at his own singing level. Voice characteris- The characteristics of each child's voice tics of children on each maturity level are difficult to state simply, because they vary with when and where a child uses his voice. A child uses one voice in a formal music lesson and many other voices in self-initiated activities. The voice is not so delicate an instrument as is commonly thought. In listening to sounds on the playground, one realizes that a healthy body houses a healthy instrument. Guided sing- 14 Music in the Public Schools mg experiences should teach children the differences between yelliyig on the playground, and singing in the classroom. Certain changing characteristics are noticeable in boys' and girls' voices as they grow and develop : Primary Maturity Level. The formal singing voice is usually light and thin in quality, but becomes richer in tone quality as the body changes in size and shape. Intermediate Maturity Level. The voice increases in warmth and gains in strength and in expressive quality. During this period the pre-adolescent boy sings with unusual purity and brilliance of tone. Junior High Maturity Level. The range of the boy's voice be- gins to narrow at adolescence. The girl's voice changes mostly in quality. The boy's voice can present a real problem at this age level. He finds himself a soprano one day and a bass the next. By listening to the boy's speaking voice, the teacher is able to determine to some degree what is taking place in his singing voice. A student whose voice is changing should be prepared to ac- cept the new vocal development. He should hear recordings, or better still, actual singing by the adult male voice. Experiences can be related to the class by singers who have successfully bridged the changing voice period. Stress masculinity of voice. There will be many boy sopranos and altos in the 7th and 8th grade classes. Refer to them as the high and low voices to avoid suggestions of femininity. Correct uses of the limited range of voice will insure continued enjoyment of singing at the present time and in later years. The music specialist should help in checking voices and arranging the proper singing material for this particular age level as follows : (1) Select songs suitable for age group. (2) Change key of unison songs to meet needs of group. (3) Select songs that can be sung in unison an octave apart. (4) Select part songs with proper ranges for each part. For further information concerning the subject of changing voice refer to : Guide to American Singer, Bk. 7, p. 6-8 ; Bk. 8, p. 6-11. Neiv Music Horizons Teacher's Manual for Intermediate Grades, p. 26, Singing 15 The uncertain On every maturity level there are three singer groups of singers: the Capable Singer, the Folloiver, and the Uncertain Singer. The "non-singer", commonly called the "monotone", does not exist, except in rare cases due to physical handicaps with which only the physician or speech therapist can cope. The old-fashioned term "monotone" usually refers to a talker or conversational singer who has not found his singing voice. He has not learned to hear or feel pitch variations. If he can hear tonal differences, perhaps he lacks coordination in conveying those sounds through his voice. The term monotone is outmoded. Would you call the child, who has not learned to skip, a "motor moron"? Why not refer to the "untuned" child as an uncertain singer and find ways to "tune him up"? Helping the 1. Let him sing, or try to sing. Singing, like uncertain talking, is learned best in social situations. singer 2. Seat the uncertain singers among the better singers. By hearing others, the uncertain singers will soon become followers. 3. Provide experiences for singing dramatizations. Children lose themselves and find their singing voices when they are a new personality, pet, or thing: Birds, animals, trains, giants, soldiers, storekeepers, musical instruments. Examples : "Three Little Ducks", Bk. 2*, p. 96 (R) *=^; "Candy Shop", Bk. 1, p. 31 (R) ; "Playing in the Band", Bk. 2, p. 8; "Giants", Bk. 2, p. 87. Song stories as "Little Red Hen", Kindergarten Book, Our Shiging World Series. Create stories which imi- tate sounds of animals, as moo of cow, etc., for children to imitate. 4. Songs related to physical activity. The uncertain singer loses his self-consciousness in action songs and often begins to sing. Examples: "Little Tom Tinker"; "I See You", Bk. 2, p. 125; "Santy Maloney", Bk. 3, p. 63; "Paw Paw Patch", Bk. 4, p. 2 (R). 5. Provide songs with words that will indicate how the voice will sing. "Wake Up", Bk. 1, p. 4 (Voice will go up on word uy.) "Busy", Bk. 1, p. 36 (R) (Voice sings high on word high.) Scale songs: "The Singing Stair", Bk. 1, p. 5 (Create songs as swing high, swing low.) "All references to books will be made to current State adopted texts: Neu) Music Horizons, 1-2-3-4-5-6; American Singer, 7 and 8; unless otherwise stated. ""Recording. 16 Music in the Public Schools 6. Individual responses, as singing questions and answers. "Who are you?" (so-so-do) "I am John." (so-so-do) "How are you?" "I am fine." Why don't all Occasionally, children other than uncertain children want singers fail to enter wholeheartedly into sing- to sing? ing activities. There are many reasons for disinterest, some of which are as follows: (1) Inexperience in singing due to meager musical background in home and school. (2) Emotional disturbances which often begin in the home but are sometimes created by the teacher. (3) Poor selection of song materials. (4) Poor teaching. A child who cannot be awakened to music through singing should have opportunities to explore other fields of music. How- ever, every attempt should be made to help each child, regard- less of talent, to express himself through song. The woods would be very silent if only the birds sang who sang best. Is a pitch The pitch pipe should be used to insure the pipe necessary? correct pitch of all songs. If necessary, the music teacher should help teachers learn to use a pitch pipe. Songs may be marked with the key name and beginning note of song. If no pitch pipe is immediately avail- able, use such instruments as the xylophone, melody bells, ton- ette, autoharp, and piano. Pitch may also be obtained from a record. Children often make excellent song starters. Music has no Children can sing almost anything they hear. chronological If a list of "school" songs is not available, the age teacher can draw from her list of "personal" repertoire. Songs which have pleasant associa- tions for the teacher will give genuine pleasure to boys and girls, because the teacher is sharing what she knows and understands best. Children will select their favorite song from a list of what the teacher once thought was an inadequate musical repertory. Suggestions When presenting a song keep in mind the for presenting following : a song 1. Do not over-motivate a song. 2. Select a song which fits the mood of the occasion, i.e., quiet time — quiet music, etc. Singing 17 3. The song should be sung as a whole so that the children will grasp the entire musical idea. Boys and girls will want to join in before the song is learned. After they have partici- pated, they are usually willing to listen to the song several times without interruption. 4. Avoid whenever possible the formalized conditions of singing. A singing session can be as intimate as a story hour. Songs which 1. Familiar songs — Familiar songs are like make you want favorite stories. They become old friends. to sing 2. Action songs — Children lose their inhibi- tions about singing while engaged in actions. Examples : ''The Noble Duke of York" ; "Sing a Song of Six Pence", Bk. 3, p. 45. 3. Songs of (or related to) child experiences — Birthday songs, rope jumping songs, etc. 4. Nonsensical songs with tripping word rhythms — "Sourwood Mountain", Bk. 5, p. 175 (R) ; "Frog Went a Courtin' ", Bk. 5, p. 126. Music fundamentals are learned through writing and singing original songs. 18 Music in the Public Schools 5. Ice breakers and camp songs — "Smile", "Under the Spread- ing Chestnut Tree", "Old MacDonald Had a Farm". 6. Songs of vigor — "Blow the Man Down" ; "Stouthearted Men" (Music for Today, Silver.) 7. Idealistic songs — Hymns, patriotic songs. Children will like almost any song, if well presented. Each school could well develop a cumulative song list to insure a continued singing program in all grades. Vocal drill There is no place for isolated vocal drill in the should be primary grades. Drill is necessary and meaning- meaningful ful only when it is an outgrowth of a problem in a song. The mood and word content of a song determine the quality of voice to be used. Children's voices are more vigorous than exact, but with the contrasting of a robust song with a quiet one, discriminating tone quality will be developed. Good tone quality and beautiful singing in childhood and youth are not brought about by means of specific training in vocal techniques. It is often the expressiveness of the song which brings out the desired quality in singing. Example: "Santa Claus", Bk. 2, p. 42; "Si- lent Night", Bk. 2, p. 34 and Bk. 5, p. 53 ; "Caisson Song", Bk. 5, p. 12; "Cradle Song", Brahms, Bk. 1, p. 115. Suggestions to 1. Good singing encourages good posture. the teacher Posture reflects one's feeling. An alert, happy, singing child will sit and stand correctly. The teacher should be a good example. 2. Breathing while singing should be as natural as when talking. Why break a phrase or sentence or musical thought to take an obvious breath? If a song says something or tells a story, sing as you would speak by keeping continuity of sentences and phrases by breathing only at appropriate places. 3. Singing is an excellent means to stimulate correct enunciation and pronunciation of the English language. Dialect and pro- vincial pronunciation should be avoided, unless the song de- mands it. Make a song say something. The idea will help to encourage clear enunciation. Story telling and dialogue songs are good for projection of words. "The Old Chisholm Trail", Bk. 7, p. 34; "The Little Mohee", Bk. 5, p. 130; "Reuben and Singing 19 Rachel", Golden Book of Favorite Songs, p. 99 ; "Where Are You Going?", Bk. 3, p. 90; "The Keys of Heaven", Bk. 8, p. 124. 4. Children are imitators of the adult voice quality. The teacher should use the simplest singing voice possible with a range that is neither too high nor too low. 5. Select songs which make it possible for each child to take part in the singing program, regardless of the limitations of his voice. The voice should be kept within its natural range. Forcing the voice up and down will possibly do great harm. Boys with limited voice range like songs with rhythmical "fill in" parts as "Oh, Bury Me Not on the Lone Prairie", or songs with easy harmonized parts as "Sailing", Bk. 6, p. 154 ; "Charhe Is My Darhng", Bk. 6, p. 183; "Invocation", Bk. 6, p. 42 ; "Camptown Races", Bk. 7, p. 143 ; "Old Dog Tray", Bk. 8, p. 172. 6. At all times have a good selection of songs with meaningful word content. The vocabulary of the songs should be checked for suitability, especially for younger children. Find as many occasions for singing as possible. It will stimulate hapiiy classroom situations. The role of the The classroom teacher can make greater classroom teacher use of the singing program than anyone else in the school system because she is always in the classroom and can use singing whenever the op- portunity arises. If the children are listless, a gay song will help to make them responsive. If the class is over-excited, singing will help to bring it back to normal. If a team has been defeated in a ball game, a song can help to dispel the disappointment. If Latin-America is an area being studied, a song from Mexico will enrich the study. If there are morning devotionals, a hymn will set the mood. Many varied experiences in the classroom will be lost, if children have to wait to sing until 10:00 o'clock on Tuesday morning when the music specialist arrives. The classroom teacher is always available for making the greatest use of the resources in the room for child growth and development. Daily use of vocal experiences will open new avenues of growth for both pupils and teacher. 20 Music in the Public Schools The voice is a The child gains status in the group when- resource within ever he is allowed to sing a song for his the school room classmates and to share it with them, even though he does not have one of the better voices in the class. Tone games, Bk. 1, p. 4-5, etc. ; birthday songs; dramatizing songs, "What Does the Puppy Say", Bk. 1, p. 9; dialogue songs, 'Where Are You Going?", Bk. 3, p. 90; re- sponse songs, "Hey Little Boy", Bk. 4, p. 115, and "Vive L' Amour", Bk. 7, p. 167. The teacher can help to open new worlds to a child through singing. Animals, trains, people, love, adventure and ideals when sung about take on new meaning. "Farmyard Pets", Bk. 2, p. 108 (R) ; "Travel", Bk. 3, p. 23 (R) ; "Little Heidi", Bk. 4, p. 78 (R) ; "Sailing", Bk. 6, p. 154; "Cielito Lindo", Bk. 7, p. 76; ^'Brotherhood", Bk. 6, p. 31. Classroom teacher The teacher says, "I like music but I can't is urged to use sing". Many times she means that her her background voice is not suited to the performance of the type of music which she has been taught to respect as good, such as "classical" music. Often the untrained voice of the teacher will convey more and is more acceptable to the children than the voice of a concert singer. If the teacher is acceptable to children, whatever she has to share will also be acceptable. Singing together brings about an inti- mate relationship within the classroom. Resources for It is a rare person who "can't carry a tune help in the in a bucket", but if for some physical rea- singing program son a teacher cannot sing, she may depend on other sources, sach as : 1. Student song leaders (4-H boys and girls have a live reper- tory of songs). 2. Other teachers, or the principal, might like to share their singing experiences. 3. Future teachers from the upper grades could take over the class for a singing session, as they often do for a story hour. 4. The music specialist is available for classroom work and for in-service programs to help with personal vocal problems. 5. The piano and bells can be used to "pick out" the song. Singing 21 6. The phonograph with a number of fine singing records to go along with State-adopted and supplementary texts is an in- valuable aid. The recordings serve as models for interpreta- tion and cover a wide range of song activities. In addition to the recordings that accompany the music series, there are other delightful singing records from Children's Record Guild and other sources. (See Listening Chapter.) Criteria for Careful evaluation of all recordings should be selecting song made before they are purchased : recordings 1. Recordings should suggest a number of experiences, for example, "Whoa, Little Horses", YPR 714 ; "The Four Bears", CR 1009 ; "The Con- certina That Crossed the Country", YPR 414. 2. Recordings that present different kinds of voices : baritone, tenor, alto, soprano. Young children are not confused by male singers' voices. They are too interested in the song content to mimic the type of voice of singer. 3. Recordings with melodic line simple enough for child and adult to follow. 4. Recordings that tell a story. The narrative itself often gets children to sing. "The Little Red Hen", C.U.S. 11, Decca; "Raggletown Singers", Luther. 5. Recordings with an aesthetic quality which will make them a permanent part of the child's repertoire. 6. The most important evaluation of the singing recording is, does the recording make the children want to sing? Example: Frank Luther and Burl Ives recordings. Keep constant check on needle and condition of recordings so that the children may hear the songs at their best. Your singing program can, become distorted if the songs to be learned are not property; produced on a good phonograph. Listen to Children should be taught to listen to re-. singing records cordings carefully before singing. \t the re- cording is an action song, let the actions come first, fit the words in later. If the song is difficult* play it several days before attempting to sing it. In learning the songs with books in hand, discover as much as possible about the song before playing the record. Study the words, the melodic contour,^ Tuned water glasses are a valuable aid in learning new songs etc., then play recording. There will be better understanding of the song at first hearing. Records are wonderful teaching aids, but never take the place of the live voice of the teacher. Make your oivn song From your oivn heart With your own voice And see how beautiful The world is. PART SINGING Enrich the The melody is the essence of the song. Har- familiar song monic backgrounds, descants and cadences are with parts all used to ornament the melody. Because of the importance of the melody, it is good pro- cedure to allow the class to become familiar with the melody before the supporting harmonic part is introduced. Part singing should be encouraged through ear experiences. Enriching a familiar song with harmonic parts is one of the easiest ways to develop a readiness for part singing. This can be done in the following ways : • • • • Singing 23 C hording: A harmonic feel is provided through the use of the I, IV, V chords to support a f amihar melody. Example : "Down in the Valley", Bk. 6, p. 26 (R) ; Barber Shop Bulletin, State Department of Public Instruction. Cadence Harmonies: Closing a song in 3rds or 6ths. Example: "For He's a Jolly Good Fellow", Bk. 5, p. 153. "Altoing" and "Tenoring" : Composing harmony parts to fa- miliar songs in 3rds and 6ths. "Home on the Range", "Bicycle Built for Two". Descants: A familiar melody with a counter part written to be sung above or below melody. Example: "Brother's Row", Bk. 4, p. 168 (R) ; "The Ash Grove", Bk. 5, p. 188 (R). Rounds and Canons: A melody written that may be sung in unison or in two or more parts. Example : "Three Blind Mice" ; "How Lovely Is the Evening" ; "Thankful Song", Bk. 5, p. 125. • Leader' Response Songs: While a note in the melody is being sustained other parts sing in rhythm last words of phrase. Example: "Eight Bells", Bk. 6, p. 61 (R) ; "Oh Bury Me Not on the Lone Prairie". Rounds and canons are not the basis for harmonic part sing- ing because the parts usually move too fast to give harmonic feel ; however, rounds can be sustained at the ends of phrases to give a feeling of harmony. Children in the first grade can sing rounds. Chording, singing in 3rds and 6ths by ear, give real harmonic feel to what in time the eye will be ready to see in notation as part singing. Make parts In the upper elementary grades, most boys interchangeable and girls have not yet become permanent basses or altos. Students should have the opportunity to exchange parts. Easy chording and descants below melody of familiar songs will help boys with changing voices find their places in the singing program. Boys with changing voices can sing a melody an octave below the given part. Singing in octaves is the earliest known form of part sing- ing. Another type of part singing is the "question and answer" : "The Keeper", Bk. 4, p. 162 (R) ; "Little Sir Echo". 24 Music in the Public Schools ACCOMPANIMENT The use of the piano in singing is to enrich the song, not to over-balance it. Overuse of the piano dulls the ear and produces dependence on instrument for leadership. Loud accompaniment hinders both teachers and pupils from hearing what is being sung. The accompaniment books for the State-adopted series are a valuable aid to the teacher. The instruments of the orchestra and hand can add to the singing program: (1) Fanfare. Example: "God of Our Fathers", Bk. 6, p. 1. (2) Playing of descants and added parts. "Old Folks at Home", Bk. 6, p. 180. (3) Playing the chording parts or other parts so that all may hear hov^ part sounds. (4) To accompany the singing. (See Instrumental Horizons.) , Rhythm instruments ornament a song: Example: Drum, "When Johnny Comes Marching Home", Bk. 5, p. 20 ; bells, "Jingle Bells", Bk. 4, p. 79 ; rhythm sticks or xylophone, "Hickory Dickory Dock", Bk. 2, p. 61. Melody hells, xylophone, and tonette make attractive accom- paniments for songs, playing melody or the common tone in two chord song as D in key of G. The autoharp, guitar, and iikelele lend themselves to certain types of songs, giving a feeling of tonality and rhythm to song. The music specialist may give autoharp marking for songs widely used. (See chapter on Social Instruments.) SPECIAL GROUPS Enrich school Special groups, such as glee clubs, choirs or program vocal ensembles, extend the school programs and gain community support for school activi- ties. The purpose of such groups is to provide musically talented pupils with a means of expressing themselves with materials that require greater skill than that used in the classroom. How- ever, special groups should never be exploited at the expense of the general music program. They should be an outgrowth of classroom activity. Special groups can provide motivation for general improvement of singing technique in the classroom. Singing 25 Organization The music specialist usually directs the train- ing of the special groups, but often well quali- fied classroom teachers and principals can do this effectively. Chorus organization and scheduling depends on the size of the school, the administration, and the teachers available. Special groups should come from grades 4, 5, and 6, and 7 and 8. If the teacher cannot cope with changing voices, it would be wise to limit selection to grades 4, 5, and 6. If the school is large, grade level choruses might be organized. Songs presented in the classroom can be polished and ornamented during chorus time. Added fresh material will help to keep up the interest of the group. Seating arrangements for choral groups is important. Ar- range the group according to height so that all may see the di- rector. The weaker parts (inner voice parts) should stand on the outside and the stronger parts (outer voice parts) in the middle in order to give better balance to part singing. Beautiful effects may also be had in fine unison singing. Social oppor- Because of the opportunities for developing tunities of desirable social understandings in a mixed special groups chorus or glee club, it is recommended that these activities usually enroll both boys and girls. Sometimes boys' choruses are sponsored in the upper grades to capitalize upon the beautiful quality of boys' voices during pre-adolescence, to maintain boys' interest in singing during the period of voice changes, and to afford each boy an opportunity to use his entire voice range, which could be from soprano to bass. Small ensembles such as trios, sextettes, and barbershop quar- tets afford further creative opportunity. These groups are small enough to be flexible and can represent the school in activities where it would be impossible to use a large group. Voices selected for these groups should be carefully blended. Selection of Boys and girls of the upper grades should be students aware of individual differences in singing abili- ties and realize that: (1) the best voices should represent their classrooms; (2) voices should be chosen to make a balanced group; (3) staging facilities limit the number in a group. There should be ready replacements from the general music class. A sixth grade learns basic concepts of harmony through writing and singing of a two-part song. The voice is Tryouts can be held before class or in private. determined If students are accustomed to singing alone in by its quality class, tryouts in class may not be embarrass- ing. In the tryouts it is well to remember that it is not how high or how loiv a voice is that makes it a soprano, alto, tenor or bass — but that the quality of the voice is the determining factor. Responsibilities of choral groups 1. Choral groups should: • Be good examples of group singing. • Provide good music for those who have little opportunity to hear it otherwise. • Lead in assembly singing. • Represent the school in community activities. 2. Choral groups can be one of the most popular groups in the school because : • They require few and inexpensive materials. Singing 27 • They are easily prepared for early performance soon after organization. • They are adaptable to all types of school and community programs. • They present an opportunity to sing under directed leader- ship. • They offer social opportunities which lead to city, connty, and statewide fellowship through participation in festivals, etc. THE ASSEMBLY Music should be a part of all school assemblies. It should be well planned and should amount to more than singing the "Star Spangled Banner" or "America". The singing assembly unifies the school and helps alleviate restlessness. Singing is a morale builder. Songs should be selected to fit the mood of the occasion — hymns for devotionals, patriotic songs for patriotic occasions, pep and school songs for rallies. When the assembly is devoted entirely to singing, a well planned program and an easy informal attitude on the part of the leader should be used in order to make the occasion relaxing and enjoyable. Opportunity should be given for participation by individual students and by small groups. Assembly tips If assembly sings are not customary, it is best to start with individual grade levels, then follow with primary, elementary, and seventh and eighth grade sings. In time boys and girls will have a common list of songs which can be shared at an all-school assembly. The following suggestions will help make an assembly sing effective: 1. Have faculty and student planning committees. 2. Provide good leadership. 3. Have a good accompanist. 4. Use choral and instrumental groups to provide interest and leadership. 5. Have a ready list of songs including hymns, patriotic songs, ice breakers, rounds and songs for "barbershop harmony" and "leader-response songs." 2^ Music in the Public Schools 6. Enrich familiar songs with harmonies and descants by special choral groups or instrumental accompaniments from band or orchestra. 7. Make use of the social instruments. 8. Have group to sing accompaniment to square dance group on stage for variety. 9. Single out students w^ho "need a lift" for special participa- tion in assembly. 10. Let assembly sings be an outgrowth of the singing in the classroom. The assembly sing should be so planned that every student will have an opportunity to participate. 11. Provide song sheets or slides if books are not available. The best singing results when students have memorized the songs. ADDITIONAL BOOKS To enrich the singing program, it is suggested that additional books for singing be made available for teachers and pupils. These books may be kept in classroom and library. SUPPLEMENTARY TEXTS: Armitage, et al. A Smging World. Books 1 through 8. 1941-49. Birchard. Beattie, et al. The American Singer. Books 1 through 6. 1944- 47. American. Fullerton-Wolfe. Together We Siyig. 1952. Follett. Hood. On Wings of Song. 1949. Ginn. McConathy, et al. American Music Horizons. 1951. Silver. World Music Horizons. 1951. Silver. Pitts, et al. Our Singing World. Books 1 through 8. 1949-54. Ginn. BOOKS FOR THE YOUNG CHILD: American Childhood Education International. Songs Children Like. 1952. A.C.E.I. Bertail. The Complete Nurserij Songhook. 1947. Lothrop. Crowninshield. Songs and Stories about Animals. 1947. Boston. Stories That Sing. 1947. Boston. Singing 29 Gale. Nursery Songs. (A Little Golden Book.) 1942. Simon. Landeck. So7igs to Groiv On. 1950. Marks & Sloan. McCall. Timothy's Tunes. 1943. Boston. Seeger. American Christmas Carols. 1953. Doubleday. American Folk Songs for Children. 1948. Doubleday. Animal Folk So7igs for Children. 1950. Doubleday. Werner. The Little Golden Book of Hymns. 1947. Simon. The Little Golden Book of Singing Games. 1947. Simon. Wessels. The Golden So7ig Book. 1945. Simon. Wheeler. Si7ig for Amei^ica. 1945. Dutton. BOOKS FOR OLDER BOYS AND GIRLS: Beattie, et al. The New Blue Book of Favorite Songs. 1941. Hall. Boni. Fireside Book of Folk Songs. 1947. Simon. Coleman. Christ7nas Carols f7^om Many Countries. 1934. Schirmer. Daniel. Round and Roimd and Rou7id They Go. 1952. Birchard. Heller, Ch7istmas: Its Carols, Custo7ns and Legends. Hall. Krone. From Descants to T7^ios. 1944. Kjos. Inte7'mediate Descants. 1954. Kjos. Our First So7igs. 1949. Kjos. Our Third Book of Descants. 1948. Kjos. So7igs to Si7ig with Descants. 1940. Kjos. Very Easy Descants. 1951. Kjos. Rhea. First So7igs in Har7nony. 1954. Morris. U7iison So7igs ivith Descants. 1952. Morris. Siegmeister. Si7igi7ig Doivn the Road. 1947. (Boys) Ginn. Way Up Ofi Ole Smokey. 1950. (Girls) Ginn. Wilson. Choral P7^ogram Senes. Bk. 1. 1944. Silver. Choral Program Se7'ies. Bk. 2. 1945. Silver. Music America7is Sing. 1948. Burdett. Music the Wo7id Sings. 1952. Burdett. Rounds a7id Canons. Hall. Zansig. Singing America. 1941. Birchard. (Recreational song collections are available from Cooperative Recreation Service, Delaware, Ohio, and Board of Education, Methodist Church, 810 Broadway, Nashville 2, Tennessee.) FOREIGN LANGUAGE SONG BOOKS: Labastille. Canciones Tipicos. 1941. Silver. The Latin American Song Book, 1942. Ginn. 30 Music in the Public Schools Lausanne Editions N o v o s S.A. 1944. Rondes et Chansons\ Available from Librarie de France, Rocke- Vieilles Chansons J feller Center, 610 Fifth Ave., New York 20, N. Y. BIBLIOGRAPHY American Childhood Education International. Children and Music. A.C.E.I. Andrews. Guiding Junior High School Pupils in Music Experi- ences. 1953. Prentice. Armitage, et al. A Singing School Teacher's Manual. 1940-49. Birchard. Beattie. Guide to the Amei%can Singer. American. Flagg. Musical Learning. 1949. Birchard. Hood and Schultz. Learning Music Through Rhythm. 1949. Ginn. Krone. Music iyi the Neiv School. Rev. ed. 1950. Kjos. Music Partici'pation in the Elementary Schools. 1952. Kjos. Music Partici'pation in the Secondary Schools. 1952. Kjos. Leonhard. The Song Approach to Music Reading. 1953. Silver. Matthews. You Can Teach Music. 1953. Button. McConathy, et al. New Music Horizons Teachers Manual. 1947- 48. Silver. Morgan. Music Education in Action. 1954. Kjos. Murray. Dance in Elementary Educatio7i. 1953. Harper. Mursell. Music in the Classroom. 1951. Silver. Pitts, et al. Our Singing World. Guide ayid Teaching Sugges- tions. 1952. Ginn. Our Siyiging World. The First Grade Book. 1949. Ginn. Seeger. American Folk Songs for Children. 1948. Doubleday. Sheehy. There's Music in Children. Rev. ed. 1952. Holt. MUSIC READING Gone is the old philosophy that music reading was an acquired skill, developed through the teaching of voluminous materials, and totally isolated from meaningful classroom activities. While struggling through songs labeled "reading", "note", or "obser- vation", students lost the true meaning and feeling for music. Comprehension and enjoyment were buried beneath a pile of Singing 31 treble clefs, key signatures, and other musical abstracts. The total aim in the early school music program was skill in music reading, even at the expense of enjoyment. Music reading Happy experiences with music should be the should be basis for a music reading program. Mean- meaningful ingful material for reading experiences is well supplied through the areas of music for fun (recreation), music for conditioning, and music which inte- grates with classroom work. Incidental music reading through everyday associations with music should take the place of the isolated drill. Gradually symbols will take on meaning and be- come a part of the whole. When this is realized, the learner will have a feeling of accomplishment similar to that which he felt when he first read his favorite story alone. There is joy in understanding tohat one is learning. More than one Education today is focused on the learner. approach to To find something that will arouse interest music reading and create a desire to learn is sound teaching, is necessary In music education, many kinds of experi- ences are offered with the hope that each child will find some that he will particularly enjoy. Music read- ing must not be confined to any single approach. Several ap- proaches must be tried to meet various needs. Music Readiness. The process of music seems to unfold in this manner. We hear, then sing. We hear and see, then sing. We see, hear (inner hearing), and sing almost simultaneously. The last step is called reading music, or singing by note. Through many approaches to music the student will advance from the stage of seeing what is sting to singing what is seen. Feeling for Grade level approaches to music read- music is essential ing will be avoided in this chapter, for its understanding since the ability to read music is large- ly determined by preceding experiences in singing, playing, and feeling music. The second grade child with a rich musical background will more likely have a better 32 Music in the Public Schools understanding of notation than the 7th grader who had none. The approach to the music reading program is essentially the same on all 7naturity levels. The material must be suited to the age level. Tonal and rhythmic concepts of music that go up and down, slow and fast, soft and loud, must be experienced to be under- stood. Pictures of music (notation) will take on new meaning after listening, singing and moving to music that goes up and down, and walks and runs. High and low tones will begin to have meaning. The white notes are slow and the black notes are fast. The eye is now ready to see ivhat the ear has been hearing. Vocal Approach. Every effort should be made to use the reading approach which is most natural and for which children have the ready instrument, the voice. Use the One of the simplest approaches to music read- chalkboard ing is to copy the notation of familiar songs for picturing on the chalkboard. Children then may see the music general melodic outline, the ups and downs of the melody, and the color (black as fast notes and white as slow notes) of the music. The idea of tempo is conveyed from the mood, words and color of the song: slow music (white), "Jacob's Ladder"; fast music (black), "Old Zip Coon" ("Turkey in the Straw"), Bk. 5, p. 128 (R) ; slow (mood), "All Through the Night", Bk. 4, p. 128; fast (mood), "Pop Goes the Weasel", Bk. 3, p. 108. New song material may be presented in the same manner. Picturing musical notation in this way on the chalkboard brings musical meaning out of notation. Recorded songs With the extensive use of recorded songs, for music reading another simple device for incidental music reading may be tried: (1) Read the words of a song. (2) Discover as much as possible about its notation. (3) Play a recording of the song. (4) Follow the melody. (5) Listen for difficulty intervals. After a time the class may attempt to sing the song without hearing it on the [t is an exciting moment for everyone when the class sings fellow students' original songs. record ; then play the recording to determine how well the notation of the song was understood. In time, through these simple processes, children will realize that music is more enjoyable when they can read the score. Tonal Patterns. Tonal patterns, a From infancy the child builds up a vocabu- voeabulary of lary of sounds which becomes distinct sounds enough to be called tonal patterns. "Bye, Bye" usually falls into the pattern of so-mi. Children singing on "mm" usually sing as repeated notes do-do-do-do, or do-re-mi-fa-sol. The universal chant "I have a secret" is so-mi-la-so-mi. When children have had many readi- ness experiences of singing and playing, these and other tonal patterns will be easily recognized in song materials. Chant — "Lady Bug" — Action Song Bulletin 34 Music in the Public Schools So-?m— "This Old Man", Bk. 2, p. 120 "Caisson Song", Bk. 5, p. 12 Do-re-mi-fa-sol — "Birthday Song", Bk. 1, p. 8 "Noble Duke of York" Repeated notes : "Little Tom Tinker" "There's Music in the Air", Bk. 7, p. 114 Z)o-w?i-so— "Grandma Grunts", Bk. 3, p. 126 (R) (variation) "Marine Hymn", Bk. 5, p. 60 Scale: "The Singing Stairs", Bk. 1, p. 5 "Joy to the World", Bk. 6, p. 79 The experienced reader will recognize new patterns such as so-fi-so, "Erie Canal", Bk. 5, p. 98 (R) ; or re-so-ti, "Oh My Darling Clementine", Bk. 5, p. 160, in the familiar settings of the basic tonal-rhythmic patterns. It is difficult to isolate the rhythmic patterns from the tonal patterns. With a great deal of experience in seeing the music the singer will begin to take in an "eyeful" of the song score at a glance. Alike and different phrases will become apparent, "Faith of Our Fathers", Bk. 4, p. 13 ; long and short phrases, "All Through the Night", Bk. 4, p. 128 and "Jingle Bells," Bk. 4, p. 79. Position Reading. Music moves by Children listen to tones that are "far away" steps and skips (skips) or "close by" (steps). They will notice whether the melodic line goes up and down. Preliminary drill should consist of: (1) Moving the hand by step to picture the intervals, then singing the intervals ; (2) Writing the intervals on the staff on the chalkboard for children to recognize and sing; (3) Recognizing the steps and skips in the songs presented in the books. "My Little Pony", Bk. 1, p. 26 ; "Come Thou Almighty King", Bk. 5, p. 75. Position reading revolves around the understanding of key chord do-mi-sol-do, or 1-3-5-8, and the diatonic scale progressions do-re-mi-fa-sol-la-ti-do, or 1-2-3-4-5-6-7-8. Because of close relationship of one note to another, sharp and flat chromatics will fit into the step by step process, with the awareness that a sharp (#) raises a tone a half step and a flat Singing 35 ^ lowers a tone a half step. "Down in Mexico", Bk. 5, p. 43 (R). (See Bk. 5, p. 42 and p. 96.) Before seeing the chromatic steps in music, a great deal of oral observation should take place in order that children hear the half steps. In position reading the use of the neutral syllable is used, rather than emphasis on numbers or the sol fa syllables. Num- bers help in tonal relationship and many times children will think numbers and sing "loo". It is suggested that as soon as possible both words and music be used simultaneously. With understanding of steps, skips, and related tones, recog- nition of like and different phrases will be observed in order to see the song as a whole. "Turkey Game", Bk. 3, p. 41 (R) ; "Wake Up", Bk. 3, p. 134. Other Vocal Helps in Reading Music. Many and varied are the activities that will help the eye understand tonal direction: (1) Songs whose words are related to pitch : "Wake Up", Bk. 1, p. 4 ; "Busy", Bk. 1, p. 36 (R) (word high on high notes) ; "The Noble Duke of York", "I'm Tall, I'm Small". (2) Songs with words related to physical action: "Little Tom Tinker" ; scale song — "Hot Dog", "See-Saw Margery- Daw". Vocal Approach to Understanding the Rhythm of the Song. There are two elements that determine the rhythm of the song: (l)The mood of the music and (2) the words. Often songs of deep religious nature move slowly — "We Are Climbing Jacob's Ladder". Gay songs move fast — "Ah, Lovely Meadows", Bk. 6, p. 168 (R). Word rhythms The words of a song determine the rhyth- mic patterns. "Humpty Dumpty", Bk. 2, p. 51 (J / J J"); "Row, Row, Row Your Boat", (Merrily), Bk. 2, p. 95 [fj]); "Sourwood Mountain", (Did-dle al-ly day), Bk. 5, p. 175 (R) {J^ J^ J\ J^ J). 36 Music in the Public Schools Good example of comparative word rhythms are "Clocks and Watches", Bk. 2, p. 52: Tock Tock (J J), Tock Tock (;]), Tick-a— Tick-a (j J J J ). The Plowboy, Bk. 5, p. 133: Jog Trot (J. J.), Canter ( j }), Galloping (J^/J^)- Words in nursery rhymes and names of boys and girls can be associated with rhythmic patterns that occur over and over in songs : John Henry Smith ( J / j" J ) and Mississippi (J— j-^^). Games may be created using word rhythms. It is helpful to scan the words of a song before singing it to get the rhythmic feel. This procedure will help to avoid making a song an arithmetical problem and will help to perserve its continuity. Never hesitate to make a picture on the chalkboard of the problem in musical notation that needs to be isolated for study. Rhythmic Approach to Music Reading. Note values Two and two are four. Two apples and two should have apples make four apples. To the young child physical numbers mean little unless they have associa- associations tions. Half, quarter, and eighth notes mean little unless there are movements that can be associated with them. (Music is composed of feeling concepts.) After many experiences in running, walking, and skipping to music, notes that are associated with these activities will become meaningful. Eighth notes (J^ J]) running; quar- ter notes (j J J J) walking; rhythmic patterns (J J* J J') skipping, ( JJ2 fj^ ) galloping. On all age levels a great deal of thinking is done through the muscles. Children sense the direction of pitch through rhythmic move- ment. Youngsters in their games are constantly "reaching up to the sky" or "falling down on the ground". The "up-and- downness" of the notes should be obvious when they see the pic- ture (notation) of "See-Saw Margery Daw", because it parallels the movement. Music, with round feeling which is usually denoted by 6/8 time is found in such w^ell known singing games as "Here We Go Round the Mulberry Bush" and "Sally Go Round the Stars". Most circle games have round feeling. Singing 37 Older children can develop concepts of movement through ma- terial on their maturity level. March, ("Caisson Song", Bk. 5, p. 12) ; walking to church, ("Come Ye Thankful People Come", Bk. 4, p. 48; Bk. 5, p. 46; Bk. 6, p. 54; Bk. 7, p. 200) ; skipping, ["Captain Jinks", Bk. 6, p. 88 (R)]; round movement, ("Pop Goes the Weasel", Bk. 3, p. 108) ; waltz ["Palomita", Bk. 6, p. 12 (R)]. Classroom activities in which creative, folk, and social danc- ing is enjoyed will lead to concrete ideas of musical form. In creative dances boys and girls make up steps, determine movements that indicate rhythm and beat of the music, or define the phrases. Dance directions for folk dances and square dances indicate change of step for phrase changes of the music. ["Jim Along Josie", Bk. 5, p. 19 (R)]. Rhythmic experiences Quarter notes and eighth notes justify reasons for are moving notes. What about the the abstracts of music notes that are sustained? Whole (©), dotted half (J.) and half M) notes? The child is more concerned about going places than standing still. Rhythmic activities will help to give the feeling of long notes which are referred to as "slow notes", "standing notes", or "held notes". The half note has been called a "step bend" note because of the rhythmic activity associated with it while holding it. Clapping, bowing, twirling, or steps can be cre- ated to give the feel of beat, while a sustained note is held. During the holding of a sustained note in part singing, a sec- ond part can be added as in "Bury Me Not on the Lone Prairie", or "Baked Potato", Bk. 6, p. 212 (R). Often the accompani- ment of an instrument plays rhythmic chording, etc., while note is being held. A rest ( y } -^ .-. ) is meant to be felt as well as a note. A rhythmic activity at the place of the rest will call at- tention to the rest in the music. "Hickory Dickory, Dock", Bk. 2, p. 61. "The Mill", Bk. 3, p. 15 (R). Instrumental fanfare as in "God of Our Fathers", Bk. 6, p. 1, or accompaniment to be played during several measures of rest as in "Tadpoles", Bk. 3, p. 18 (R), helps to make students aware of rest in song. Listen 38 Music in the Public Schools to recordings for rhythmical sound effects played while a note is being sustained or during a period of rest in the music. Learn to feel note values and rests by comparative movements and to see them pictured in relation to one another, as ''Clocks and Watches", Bk. 2, p. 52; "Follow Me", Bk. 3, p. 4 (R) : "Fishtail", Bk. 5, p. 25. The problems of feeling strong and weak beats have been out- lined in the State-adopted text and teacher's guide. Understanding of Musical Terms Used in Reading Music Through Rhythmic Experiences. Musical terms are associated with music which is slow or fast: andante with the second movement of a symphony, or largo with the well known song by Handel (p. 54, Golden Book of Favorite Songs). In creative rhythms or in singing a song, the tempo is indicated at the beginning of selection. Music Terms fLargo — "Jacob's Ladder" Slow movements J Lento — "Volga Boatman", Bk. 5, p. 134 ; I Bk. 8, p. 118 ^^ . . , fAndante — "America" Moderate movements ^ , , , ,, . . mi -r> i.-i? v» 1 Moderate — America The Beautiful rAllegro— "Vive L' Amour", Bk. 7, p. 167 Fast movements <^ (R) [Presto— "Dixie", Bk. 5, p. 186 Rhythmical movement becomes associated with these words. In the American Singer, Books 7 and 8, the tempo of each song is marked in English. However, boys and girls seem to enjoy the sound of the musical names and will enjoy building associations with others as ritard, maestoso, animato, etc. Music Reading Through Dramatization. When a child is playing soldier he is not concerned with con- cepts of 4/4 time or quarter notes, but he is getting the feeling of time through action and enjoying it. It is more fun to skip like Goldilocks than to just skip. The imitative rhythms come into full play when a child is a giant with big steps, stepping out Singing 39 the intervals do-so-mi-do, or when he is a train going clickety- clack (JJ] J.), or a big watch with its big tock, or a little watch with its little tic-a-tic-a-tic. Rhythmic patterns are more understandable to a child, if he can hop like a rabbit, gobble like a turkey, or trot like a pony. Narrative recordings and song stories are filled with rhythmic and tonal patterns which all children love to imitate. "Whoa Little Horses", YPR 714, "The Little Red Hen", (Decca, C.U.S. 11). Instrumental Approach to Music Reading. Playing an The instrumental approach to music reading instrument helps to define music notation more clearly than aids music does vocal approach. Playing a diatonic scale reading passage on such melody instruments as water glasses, xylophones, and tonettes, helps to strengthen the feeling for the direction of music (See Bk. 2 and 3). The piano keyboard is an invaluable instrument in helping to read music. Fingering while playing the songs gives a feeling for steps in scale passages and intervals of the broken chord. Chording on the piano gives a better feeling for harmony and emphasizes the tonal patterns which are built on tonic, domi- nant, or sub-dominant chords. The feeling for the minor mode can be established by chording on piano. The autoharp is also an excellent instrument for chording. (See Chapter on Social Instruments.) Playing tunes of the black notes on the piano as "Peter Pumpkin" will be fun and will contribute to hearing tonality of the pentatonic scale. Melody instruments and instruments of the band or orchestra can play the inner parts of a song so that the part will be better defined for the singers. Following the Score of Instrumental Selections. Those who are not fortunate enough to play an instrument should follow the score of the music for the clarinetist, violinist, etc. It will be interesting for more advanced groups to follow 40 Music in the Public Schools individual instruments from a full score while listening to a recording. This will help in part singing and will be an invalu- able aid to the music listening program. Following the themes of recorded selections which are found in New Music Horizons is an aid to music reading. Example : Bk. 3, p. 93 ; Bk. 5, p. 176. For greater comprehension these and other themes may be written on the board to be sung and identified when heard. Writing Music as an Approach to Music Reading. Writing music is both a creative experience and an aid to understanding musical notation. Singing and writing music on the staff gives a feeling for the melodic line. Three simple de- vices for beginning music writing are : 1. Completing an unfinished song with original tune. 2. Composing an answer to a musical question, as ''How are you today?" and writing it down. 3. Writing notation for rhythmic movements of "This is the way we walk", or "This is the way we skip", or "This is the way we run, run, run." Students of the upper grades will want to create harmonic parts for songs. The music specialist will be an invaluable aid in developing techniques of music writing. The practice and skill of writing music on the staff by correct usage of notes, making stems, flags, rests, etc., will aid the understanding of musical notations. Reading Music in Relation to Part Singing. Hearing parts Part singing is concerned with the enrich- comes before ment of famihar songs and the hearing of reading of parts harmonies and moving parts. After much hearing and feeling of chord color, the eye is ready to see what has taken place. CJiords: Write the chords that support the melody on the board and identify similar chords Singing 41 in the books. The eye will be strengthened after seeing what it already hears: cadence harmonies and created harmonic parts in 3rds and 6ths. Write the melody on the board; then in smaller notes write the harmonizing notes above or below the melody. Recognize harmonizations of 3rds and 6ths from songs as "Thwarted Romance", Bk. 5, p. 170 (R) ; "Shoo Fly", Bk. 5, p. 93 ; "For He's a Jolly Good Fellow", Bk. 5, p. 153. In order to become acquainted with two connected staffs, introduce part singing of dialogue songs, as "The Keeper", Bk. 4, p. 162 (R) ; "The Echo", Bk. 4, p. 177. Descants: Distinguish between melody and counter-melody. This requires close follow- ing of the score. "Brothers Row", Bk. 4, p. 126 (R) ; "The Ash Grove", Bk. 5, p. 188 (R). Rounds and canons are not the basis for harmonic part sing- ing, because the parts move too rapidly to convey harmonic feehng. This type of part singing broadens throughout the music. When reading music, make a game of observing one part moving into another. Often harmonic songs begin like rounds. "Crusaders Hymn", Bk. 6, p. 158; "Sheep on the Hillside", Bk. 5, p. 119 (R). Listen to recordings of part songs and try to follow each separate voice as it fits into the whole. Enriching the Music Reading Program. Discovering Discovering tonal and rhythmic differences differences which identify the music of a composer or in music country will make the music reading program interesting to boys and girls of the upper grades. The minor scale which is based on la, of the diatonic scale could be an outgrowth of the study of the Russian or Negro people. A study of Oriental customs and music could stimulate interest in the five tone or pentatonic scale. Rhythmic patterns as the Scotch "Snap" (J?^), "Comin' Thro' the Rye", p. 37, Golden Book of Favointe Songs; or the Spanish Tango (J7^ J~J) Bk. 6, p. 244, N.M.H. Accompaniment Book, make interesting studies for observation of elements which make music different. Another interesting study is that of finding repeated intervals, as minor 3rds -«?o mi in "Silent Night", or repeated tones as re 42 Music in the Public Schools in "At Pierrots Door", Bk. 5, p. 15. These intervals, etc., give each song its own particular color or personality. Answers to Questions Frequently Asked. When to begin At what grade level is music reading music reading? taught? Because music is presented in many ways in different schools with vary- ing backgrounds, it cannot be said that music reading should begin on any specific grade level. It has been stated in an earlier section of this chapter that a seventh grade child with no musical background would hardly share the same enthusiasm for music reading as the second grader whose musical experi- ence has been rich and varied. Build up the background for music reading as soon as possible, because reading experiences are perhaps more acceptable to younger boys and girls than to older ones who have had limited backgrounds. After many pleasurable experiences with singing, dancing, playing instru- ments, and listening to music, a gradual awareness of the musical notation will emerge. Should syllables, Letter names of notes are usually as- numbers, letter names, sociated with instrumental study. or neutral syllables Step progressions on piano, bells, etc., be used in reading are indicated by A-B-C-D-E-F-G and music? chromatics. Numbers are useful tools in play- ing on water glasses, bells, etc. To the young child the use of numbers is sometimes justified because the concept of 12345678 is more understandable to him than letter names or the sol fa syllables. Singing the neutral syllable loo, or even words with music without "props", makes it difficult for a child to comprehend the sequence of tone on which music is built. The sol fa syllables cover all keys. They are more singable than numbers or pitch names, because they employ pure vowel sounds. When singing the sharp chromatics, it is easier to sing "fi" instead of 4 sharp. It is good to have an understanding of letter names, numbers and syllables, because all can be used to advantage in music reading. Singing 43 Conclusion. Traditionally, the success of the music program is judged by the skill of the child in reading music, playing an instrument and appreciating "classical" music. Today, every effort is made to make music not the isolated area it once was, but a vital part of child's experience and growth. The music reading program in the modern school curriculum is an outgrowth of bit by bit experiences which are meaningful to the learner and which in time will come together for the whole understanding of notation. Music can be enjoyed without an understanding of music reading, but even limited reading skills can add to enjoyment. There is satisfactio7i in understand- i7U} what one sees and hears. 44 Music in the Public Schools RHYTHMIC EXPRESSION Rhythmic expression is a part of the total curriculum The program of rhythmic expression in the school is not an isolated function of a music period or a music lesson. It is a need in the classroom, in play, at home, and in all other phases of life. The approach to rhythmic expression through music includes the total development of the child in a total curriculum. PURPOSES Rhythmic expression through music placed in the total cur- riculum reveals the following purposes and outgrowths : 1. A better understanding of self and the world about us is achieved through bodily movement in response to music. Using bodily movements to interpret music is one of a child's ear[iest experiences in music. -« Rhythmic Expression 45 2. Psychological needs of boys and girls — self-acceptance, ac- ceptance of others, and personal achievement — are integral parts of the learning environment in rhythmic expression through music. 3. Rhythmic expression can often serve as an adjunct to a kind of play therapy or socio-drama, as used by psychiatrists, psychologists, and educators, to study the child through his emotional and developmental needs. The child, also, has an ~ opportunity to work off some of his energy, even some of his feelings of aggression, in a socially acceptable environ- ment. 4. Boys and girls who have participated in a continuous pro- gram of rhythmic development are less likely to develop inhibitions and self -consciousness in social situations. 5. Integration with the classroom life, both in the study of sub- ject matter and in the process of daily living, is the core of the program. • 6. The feeling of rhythm is developed to understand and acquire the skills of reading rhythmic notation in music. 7. The feeling approach of "musicianship" in general is used to understand and express the structure and content of music. General teacher 1. Sincerity of effort. Any effort from the suggestions child which is wholehearted and honest is acceptable. 2. Use of original ideas. No copying of the child who has "studied" dancing should be practiced. 3. Loss of self-consciousness. By providing vigorous music the teacher can help the child overcome his inhibitions through the sheer fun of fast and vigorous movement. By calling at- tention to the music rather than to the child, the teacher can help direct the child's attention away from himself. 4. Help the child hear more and more in the music. At first only the big beat of the music is felt. Then phrase endings become apparent, changes in tempo and dynamics are sensed, big accents are heard, until gradually the child begins to develop a composite understanding of the music and to show this understanding in his bodily response. 46 Music in the Public Schools 5. Develop a climate favorable to good rhythmic work. a. Decide how best to use the space available, so that bodily movement may be truly free. b. Plan grouping the class so that all children will have equal opportunity to take part. The available space should never be too crowded. c. Draw out the less outstanding child by giving him extra turns. DEVELOPMENT GROWTH (First Through Eighth Grades) General physical and em.otional characteristics of boys and girls at various age levels are given as a foundation for the planning of the program. Certain implications in developmental growth related to rhythmic expression are pointed up in this survey. The six year The six year old is continuously in motion. old learnr, This motion is his way of growing. The through action muscular coordination is in the early stages of growth, but the enthusiasm for muscular activity is at a high peak. His body is in active balance as he walks, runs, skips, swings, etc. Walking to music may be a difficult task for him, but he will try many times if each experi- ence is varied. He may walk to the candy shop (see song, "Come With Me to the Ccmcly Shop", Bk. 1) as if he were a big man, a fat man, a thin man, as if he were happy or sad, etc. He is the center of his own universe. He icauts to be the postman, the fireman, the ice cream man, the clock, the kitten, the wind, and the rain. (Songs with these titles appear in Bk. 1.) He identifies himself with the ivorld about him i)i terms of action. The muscular speed and control of individual children differs widely. The individual speed and control must function at its own developmental level. The six year old, as all human beings, needs success. Rhythmic Expression 47 The seven year The seven year old settles down for a old learns through longer period of time than the "mer- reflection and curial" six. The seven year old can be action guided into meaningful learning, because he now identifies himself with his en- vironment both through feeling and through action. For ex- ample, the song "Swinging" (Bk. 2) provides opportunities for his reflection or feeling to be tested in his terms of action. With guidance he can present many ideas about swings. Some of these ideas may be hands crossed with another to make a swing that moves high and low, a hammock that is gently pushed by someone, a see-saw that balances up and down. "Marching" (NMH, book 2) may include majorettes, flag- bearers, band, soldiers, etc. "Sailing", (Bk. 2) may be expressed with a high wind and a choppy water, or with a gentle breeze and calm sea. The characteristic rhythmic responses of the seven year old are clapping, walking, marching, running, sliding, jumping, rub- bing, tapping, hopping, swinging, flying, etc. Some of the songs that the seven year old delights in expressing rhythmically are "Playing in the Band"; "Oh, Where Has My Little Dog Gone"; "Here Comes the Postman"; "Over the River and Through the Woods"; "Clocks and Watches"; "Did You Ever See a Lassie"; "Playing Indians" ; "Yankee Doodle" ; "Hickory, Dickory, Dock" ; "John Brown Had a Little Indian" ; and others (Bk. 2) . Through these songs the seven year old can relate his ideas through rhythmic expression. The eight year The eight year old, usually in the third old learns through grade, moves out into the world both dramatization mentally and physically. His rhythmic expression through music is spontaneous, dramatic, and descriptive. He is able to plan, and to present, with guidance, dramatic renderings, historical and otherwise. For example, he may dramatize a walk through the woods as the Pilgrims did, while singing the song of praise, "Come Ye i:.ari:liil People Come" (Bk. 3). He may investigate mean- ings in songs of other countries through rhythmic dramatization. "Little Blacksmith", "Weaving Song", "Susie Little Susie", "Voule-vous Danser", "Turkish March", "Wake Up Sleepyhead", etc., offer opportunities in which the eight year old can spread 48 Music in the Public Schools out into the culture, test and apply the basic feelings of meaning which he built up when seven. This is a splendid age for rhythmic activity. The child has a good command of fundamental movements but is not yet self- conscious or too sensitive to the opinions of those who watch him do his rhythms. Some songs, especially adaptable to the rhythmic traits of the eighth year old are: "Merry-Go-Round" ; "Skating" ; "Tramp, Tramp, Tramp" ; "As Tommy Was Walk- ing" ; "Indian Lullaby"; "Mountain Song" ; "Mrs. Ducky Daddle"; "Where Are You Going"; "On the Railroad Train"; etc. (Bk. 3). The nine year old The nine year old, usually in the fourth develops specific grade, is no longer a mere child, nor is he rhythmic skills yet a youth. His traits are self-motiva- tion, reasonableness, and attentiveness. If these traits function in a favorable balance, he is on his juvenile scale, a fair-minded, responsible individual. He is concerned with fair play, both by self and group standards. He wants to have an opportunity to make decisions and choices. He will devote long periods of time in search of singing-games, folk- dances, and folk-songs, with rhythmic possibilities, which are an integral part of a historical study if he has helped to plan and initiate the project. Some songs which offer opportunities for specific rhythmic development are : "Little Dutch Mina" ; "The Farandole"; "The Brownie Dance"; "Paw Paw Patch"; "Folk Dance"; "Ceremonial Dance"; "Tideo"; etc. (Bk. 4). Clapping and tapping, typical rhythmic patterns that fit a particular song, are experiences the nine year old appreciates. A tap with the foot followed by a clap of the hands provides a rhythmic accompaniment for many songs he knows. Some of these songs are "O, John the Rabbit" ; "Polly Wolly Doodle" ; "Ground Hog" ; "Fooba Wooba John" ; "We're Going Round the Mountain"; "Tideo"; etc. (Bk. 4). An accented step followed by two claps, (waltz rhythm), as he walks, (step on first beat only) is very helpful in developing a rhythmic feel for music he knows and will encounter later. See Songs : "Three Little Ships"; "Waltzing"; "The Brownie Dance"; "Old Grumbler"; "Little Heidi"; "Little Dutch Mina" (Bk. 4). Instructions for the development of the waltz step are given in book 4. Rhythmic Expression 49 The nine year old is realistic. He wants activities to be proper. Growth in his emotional feelings is noted. He can play a realis- tic role in the rhythmic activities of a play or dramatization that is built around a unit of study. Such units as Columbus, Robin Hood, Our Neighbors to the South, The Hot Dry Lands of North Africa, etc. The ten year old is The typical ten year old is in good equi- in good equilibrium librium, physically, mentally, and emo- tionally. He is a pre-adult, an adult in the making. He is relaxed and casual, yet alert. He likes chal- lenge. He needs continuous use of his rhythmic skills through music to assure the development of a coordinated body through the trying pre-adolscent and adolescent years. At ten sex differences are pronounced. There is little com- panionship between sexes. Folk and social dances are needed by these children to develop natural situations in which both sexes can be accepted. Dance directions are given for "Kauiki" ; "Jim Along Josie" ; "Arkansas Traveler" ; "From Lucerne to Weggis" ; "Down in Mexico"; "Leron-Lerone" ; "The Polka"; etc. (Bk. 5). The ten year old is peculiarly receptive to social information and broadening ideas. Rhythmic expression should play an im- portant role in the development of units of study, as Colonial Life, Discovery and Exploration, Pioneer Life, Indians, Struggle for Independence, Territorial Expansion. The classified index (Bk. 5) gives songs and rhythmic suggestions under each of these headings. The tap-clap (with the foot and hands) pattern might be con- tinued with the following songs : "The Caisson Song" ; "When Johnny Comes Marching Home" ; "Marine's Hymn" ; "Shoo Fly, Don't Bother Me"; "Erie Canal"; (Bk. 5). These songs could be developed appropriately into a grand march, walk-a-round, follow-the-leader, or creative rhythmic expressions. Songs might be expressed rhythmically, such as a round where all patterns are in process at the same time. "The Song of the Volga Boatmen" (Bk. 5) could be expressed by interpreting the phrases with rhythmic expression. One idea is to pull an imaginary rope forward for the first phrase, reverse the action for the second phrase, etc. 50 Music in the Public Schools The eleven year old The eleven year old in the sixth grade is in transitional is in a transitional state of growth as period was the seven and the nine year old. Hostility is often directed toward anyone who threatens his growing-up status. His argumentive attitude is often an attempt to assert his independence. He is disorgan- ized. He has little desire for life to run smoothly. He needs to participate in organized activities in which he can play a re- spected role. Rhythmic expression is a natural activity to meet these needs. Rhythmic patterns, peculiar to a nation, era, or people, are dignified investigations which provide a continuous development in the physical coordination needed by the eleven year old. "The Juba Dance" rhythmic pattern (see Red Book, Music for Young Listeners, Silver Burdett & Co., page 33) is an extension of the tap-clap off-beat pattern suggested for fifth grade activity. "The Juba Dance" rhythmic pattern can be used as an accom- paniment to such songs as "Dance"; "Old Joe Clark"; "The Spanish Cavalier" ; "Solomon Levi" ; "Black-eyed Susie" ; "Baked Potato" (Bk. 6). The origin of these songs and their adapt- ability to the Juba rhythm is an interesting study. "The Habanera" rhythmic pattern, typical of Spanish music, can be expressed with the word, Ha-ba-ne-ra, (/J^^J") by chanting, stepping, clapping with rhythm instruments, and finally it can be developed into a dance. The rhythmic pattern can accompany such recordings as "La Habanera" ; "La Golondrina" ; "Siboney" ; etc., or with the songs, "La Paloma" ; "Fiesta"; "Anquinhas" (Bk. 6). The latter song, "Anquinhas" (Fashion), uses two Habanera patterns, the accompaniment given and one that the words, "Let's do the "Ha-ba-ne-ra", express, (J5 / J5 J" / / J)- Such ideas can be extended to other types of songs; examine the rhythmic patterns in the "Chinese National Anthem" (Bk. 6). Three rhythmic patterns will be found. These patterns could be interpreted by three groups of children. The first phrase is a slow, stately type of rhythm. The second phrase is lively. The third phrase marches constantly on. The fourth and fifth phrases are related to the second and first phrases, respectively. Rhythmic Expression 51 Rhythmic expression a necessity in adolescent growth Directions for folk and social dances are given with 'Gather- ing Peascods" ; "The Pretty Plowboy" ; "Captain Jinks" ; "The Irish Washerwoman"; "Mazurka"; "Polka"; "Polonaise" (Bk. 6). The youth in the seventh grade are usually in the throes of both bodily and emotional change. The interest in the opposite sex is usually hidden, but on occasions presents itself in a flamboyant manner. The clap, tap, step, activities of the previous grade might be continued if needed. The Juba dance rhythm with variations can accompany such typical American songs as "Vive L'Amour" ; "Shortnin' Bread"; (AS, Bk. 7) "Buffalo Gals"; "Dixie"; "Yankee Doodle"; "Camptown Races"; "Caisson Song"; "Boll Weevil" (Music Americans Sing, Silver Burdett Co.). The study of our Southern neighbors includes typical Spanish rhythms. The Habanera rhythm, given in the sixth grade, is Finger play or small bodily movements are good for a crowded classroom. 52 Music in the Public Schools found in much of the Mexican and South American music. See "O Sole Mio"; "Carmen Carmela" ; "The River" (Hyayno) ; (O.S.W. Bk. 6, Ginn & Co.). Singing games, folk dances, square dances and social dances are a great need at this age. (Refer to Physical Education, Publication 279.) The youth of The youth of thirteen, usually in the eighth thirteen reaches grade, drift sharply away from adult de- for adult status pendence. They are moody and withdrawn. They often smoulder with inner feelings. They want to assume responsibility in the execution of the class- room activities. In this grade, projects in the Story of North Carolina including rhythmic expression might be the responsi- bility of the student groups. For example, Activities of the Plantation as a project would include songs and activities of the Negro slave as he worked on the plantation. Spirituals, such as "Go Down, Moses"; "Little Wheel A-Turnin' " (AS, Bk. 8) ; "Boll Weavil" (MAS); "Ain't Gonna Rain"; "Keep in the Middle of the Road"; "Lord What a Morning"; "Ezekiel Saw the Wheel" ; "I Want to be Ready" (Our Singing World, book 8) are appealing. Appropriate work rhythms can be fitted to some of these songs, as they were used by the Negro at work on the plantation. The Juba rhythm fits naturally with "Ain't Gonna Rain". Other projects may be the folk dances in the Story of North Carolina, The Highland Fling, Square Dance, Virginia Reel, Minuet, etc. (Refer to Physical Education, Publication 279). REFERENCES Andrews. Creative Rhythmic Movement for Children. 1946. Prentice. Gesell and Ilg. The Child From Five to Ten. 1946. Harper. Hostetler. Wcdk Your Way to Better Dancing. Rev. ed. 1952. Barnes. Landeck. Children and Music. 1946. Wm. Sloan Assn., Inc. Physical Education, Publication 279. N. C. Department of Public Instruction. Sheehy. There's Music in Children. 1952. Holt. Shaw. Cowboy Dances. 1939. Cacton Printers, Ltd. Washington. Creating A Good Environment for Learning. 1950. Assn. for Supervision and Curriculum Development. Rhythmic Expression 53 FUNDAMENTAL RHYTHMIC MOVEMENTS There are two types of fundamental movements motor movements (2) axial movements. (1) loco- Locomotor movements are those which enable one to move from place to place on the floor. This would include: Walking ""i Galloping Even rhythm Skipping Sliding Running Hopping Jumping Leaping Uneven rhythm Axial movements are those in which the individual remains in the same place on the floor, but moves around the various axes of the body. This would include : Bending and stretching^ Swinging and swaying Turning and twisting I Hitting and striking All axial movements may be done from any position — standing, kneeling, sit- ting, lying, squatting, on hands and knees. All rhythmic movement with young children should be free and varied, and should involve relaxation. It is natural and de- sirable that the reactions of various children to the fundamental movements sliould show great variety. Here are some examples which show the difference of reaction in the interpretation of ideas. All of these examples have come from the children themselves : Locomotor Movements. Walkifig Hopping Jumping Running Leaping Hurry Toad Frog Late Over hurdles Tired Hopscotch Over creek Cold Like a deer Proud Grasshopper Rope Happy From square to Fat Zig-zag Popcorn Scared square in the Sad Fast Firecrackers Fairy sidewalk Mad Slow Birds Over brook Dolls Hurt foot Jumping beans Giants Broken leg Jumping Jack Crab Birds Parade Cat Grandfather 54 Music in the Public Schools Skipping To school Skip steps Happy Skipping rope Skip high Little skips Galloping Horses Ponies Cowboys Lone Ranger Farm Horse Fast Slowly On the pavement On the dirt road Over the bridge Additional locomotor movements which grew out of class experience: Sliding Sliding board On ice In a circle Sideways Like giants Lazy Quietly Creeping Baby Cat Indians through the tall grass Softly Rolling Steam roller smoothing down street Down hill Pastry Balls Slowly Fast Cartwheel AXIAL MOVEMENTS Bending and StretcJiing Sunrise Big bells Planting seeds Shoveling snow Washing clothes Butterflies (coming out of co- coon) Wakening in the morning Putting on shoes and socks Picking up sticks Elevators Bread rising Plants growing Pulling fire hose off the reel Twisting and Turning Smoke coming out of the chimney Stream running through the woods Corkscrew Sweeping Flag in the wind Electric fan Water sprinkler Wringing out clothes Puppy coming through a hole in the fence Rhythmic Expression 55 Swinging and Swaying Striking and Beating Trees Drums Winds Ringing bells Swings Ringing gongs Rocking dolls Cleaning rugs Swinging a lasso To show strength Windshield wiper To show anger Flowers Clocks Field of grain On the door Flags Rising and Falling Sign swinging Riding the waves Bells ringing Roller coaster EXPERIENCES IN RHYTHMIC EXPRESSION Types. Free creative Rhythmic expression may be grouped into expression three types. The free, creative type of ex- pression, in which a boy or girl expresses his or her own idea, is essentially the foundation of the program of rhythmic expression. The idea is first ; then the idea is expressed through some form of rhythmic interpretation. This free inter- pretation may take form in imitation of toys, animals, pets, etc., or dramatization of life experiences that are familiar to the child, or through pantomine of the elements of nature. The idea and interpretations are those of children and are not im- posed by the teacher. Music that inspires such rhythmic ex- pression may be introduced through the media of song, instru- ment, or recording. Semi-directed The semi-directed type of rhythmic ex- rhythmic expression pression occurs when ideas are sug- gested, discussed, and demonstrated. The child still interprets the ideas individually, but as the result of group discussions. The group may discuss the necessary activities to make a garden. Some of the suggestions may be to prepare the ground, plant the seed, water the plants, pull the weeds and harvest the crop. T.ie portrayal is still individual, even though several or all of the children take part. The teacher is an important guide. Music may be provided through the media of song, instrumental music, recordings that tell a story, or a story told with musical background. 56 Music in the Public Schools Specific patterns of In the third type of rhythmic expres- rhythmic expression sion, specific patterns are usually per- formed by a group. Action songs, sing- ing games, folk dances, square dances, and social dances have specific patterns of action. Experiments. This primary grade had A new first grade of boys and little previous experience girls had settled down in their seats. They had just returned from an excursion on the school campus. They had watched the marching band practice some routines. They were eager to talk about their experiences. The teacher suggested that they, too, may walk and keep step with a drum. First, they listened to the drum. The drum beat was a steady pulsation. What did the drum say? The drum said, "walk, walk, walk, walk." Everyone might speak softly with the drum and say, "walk, walk," while pretending to walk in a marching band. (This activity helped these children feel the pulsation while speaking and stepping with the drum. A piano, claves or other percus- sion instruments may be used.) After discovering a large number of ways in v/hich the body can be used, these fifth grade students fit these movements to the music they hear. Rhythmic Expression 57 Walking with the drum led to many other experiences. "How many different ways can we walk?" "Remember the story about the giant?" "Who would show us how a big giant walks?" "Would the drum speak fast like this ... or slowly?" Tom Thumb was another exploration in which we walk. These steps were tiny and very fast. (The teacher used a drum for these activities until she felt the children were ready for music with slow, moderate and fast tempi.) The children also sang songs they knew, with varied tempi to test "how the song should walk". They experimented with the song, "Come With Me to the Candy Shop" (Bk. 1). Slow sing- ing and walking did not fit the song. Moderate singing and walking seemed to fit the song just right. These experiences were developed over a period of time and are not the result of one day's activity. The experiences are examples of what has been done and are given to encourage further exploration of rhythmic expression. Projection of moods A primary grade was having a day into rhythmic expres- when all went wrong. . . . During the sion may help children morning Johnnie and Jim had several gain insight into their verbal fights . . . Janet lost her lunch behavior money. Janet accidentally knocked over a vase . . . the whole day seemed full of problems to be solved. This understanding teacher said to the class, "let's all stop what we are doing and listen to some music . . . we have had so many 'moods' in our room this morn- ing". . . . Moods were the subject of much discussion. "Music has moods and feelings too," the teacher ventured. "Would you like to have one feeling or mood all of the time?" "No, one mood would make our life very dull like eating one food all of the time." Music is like our living here together, we have many moods and feelings." (This teacher used this approach to help remove some of the guilt feelings of the children and found an outlet for pent-up emotions.) Recordings used : "Themes for Children's Rhythms," Erma Hayden. March. "We are just going to listen and find out if the mood in this music is happy or sad . . . yes, you are right, the music does sound happy. Let us all look and act like this music makes us feel." (Some of the rhythmic responses were 58 Music in the Public Schools pulsating heads or whole bodies, swinging arms, tapping feet, pencils and other objects.) The teacher then played a variety of musical moods. Some music was angry, another sounded like fighting music. One was funny, and another was sleepy. The atmosphere had been "washed" of all the previous tension, perhaps all would be serene for a while. A primary grade One windy day in March a primary grade learns about the was confined to the classroom because the environment wind was very strong and cold. The boys and girls gathered by the big window to watch the trees as they swayed with the wind. The alert edu- cator led the discussions to include the different kinds of trees that grew outside the windows. How the wind affected the movement of trees was an interesting topic. A whole pine tree swayed in the wind. A big oak stood still, the branches swayed with the wind. The weeping willows were like a sv/ing pushed by the wind. These observations were expressed by the children with their teacher's guidance. The wind in the trees sounded like music. The teacher knew some recordings that would be just right. The music would make the wind, and the children could be the trees in the wind. Recording used: "Valsefte" by Borowski, Victor Basic Rhythmic Series Vol. 1. Birds have many Birds were the study of a primary grade. habits that can This study was further developed with be expressed with rhythmic expression to music. A record- music ing, "Small Birds and Large Birds," (Locomotor and Phoebe James AED 4, was used. Plan- axial movements) ning by the boys and girls with their teacher developed groups of small birds. A bevy of quail was interpreted with short quick steps and fluttering wings. (The arms were held close to the body while the hands were the wings; tiny light steps and tiny quick jumps were some of the rhythmic responses.) Black crows flapped their wings as they chanted their "caw-caw" sounds. The music for large birds inspired a pelican flight that was interpreted in a formation similar to follow the leader. All followed when the formation swooped lower or banked to the right or left. I y ,A :r.m "m^^^ Rhythms are expressed in this second grade through bodily movements, instrumentation, and painting. Such an informal type of activity was fun and relaxation to this class. Such fun activity is needed in the classroom at certain times. Intermediate communication unit includes music An intermediate grade was developing a unit on communication. Phrasing, or the group- ing of words or sounds to form an idea, was the current interest. Phrasing was found to be important in all forms of communication. This evidence was especially noted in songs, instrumental music, poetry, and speech. Evidence found by study groups listed these characteristics : qualities of rest, pitch, tempo, verbal or musical meaning, balance and rhythm. A recording, ''Gavotte" by Gossec, was used to explore these ideas in music. (Any recording of folk song or instrumental music with clear phrase lines may be used.) "When you hear the end of a phrase in the music raise your hand." This teacher used this simple technique to test the understanding (or com- munication). The class determined that music moves during the phrase and rests at the end of the phrase, the same as in other forms of 60 Music in the Public Schools communication. "We are going to have a little fun today, and phrase with a volley hall to music." "We will all stand around the room while the ball is passed only during the movement of a phrase. When the phrase rests the ball must rest. Everyone pass the ball to your left. All move your arms to the left to show you understand the communication. Ready? Start with the music." The arms moved the ball with rhythmic sweeps. Sev- eral unique expressions of repose were developed by individuals to indicate the end of the phrase. Another activity during this particular phase of study pro- vided for a division into two groups. These groups were called "group one" and "group two." Group one planned to move with the first phrase, group two with the second phrase, etc. They further planned to express the end of the phrase in other ways than repose. The English folk song, "Lavender Blue" (The New Green Book, Twice 55), was sung. Some of the rhythmic ex- pressions at the end of the phrases were : turning in the opposite direction, moving the arms in small arcs as an echo to the phrase, bows and curtsies, etc. Dramatizing a familiar activity such as pushing a swing is a good beginning for creative rhythms. W Rhythmic Expression 61 Halloween comes Music that tells a story can be dramatized to primary or by all grades in the elementary school. A intermediate recording of "Danse Macabre" by Saint- grades Saens, Columbia AL-8, was used for this experience. Halloween is a time of intrigue for young people. This inter- mediate grade had rich Halloween experiences with art, song and story. They were eager to hear the story of Halloween on the record. The teacher played the record very softly as she told this story. "One Halloween night, when all was still, the skele- tons were all asleep in their graves. They were waiting for the midnight hour when all self-respecting skeletons could rise slow- ly from their graves and go out on the earth to dance. They had nothing on their bones. They felt very light and happy when they danced with the wind blowing on them. When the clock strikes twelve the skeletons rise slowly and come out on earth. One skeleton is a fiddler so he tunes up to play for his friends to dance. The skeletons dance faster and faster. A storm with wind and thunder comes up, but the sktl'^tons continue to dance as they are blown about by the wind. Fa^'ter and faster they dance until the cock crows. This was the first sign of morning. Slowly and sadly they go back into their graves. One little skeleton almost forgot to go back, but he had to scam^^er back quickly and lie down before the morning came or he could never dance on Halloween again. "Will all listen to the music and see if we can hear the clock strike twelve, the fiddler tuning up, the skeletons rising, the dancing that gets faster and faster, the wind blowing tlie skele- tons about, the crash of the thunder, the cock crowing, and finally the little skeleton who almost forgot to get back into his grave." (The children must hear these events in the music be- fore the rhythmic expression is investigated.) Some demonstra- tion of each idea is a good procedure. Some one can be the fid- dler, the little skeleton who did not want to go back to his grave ; some can be the wind and thunder, and several can be the skeletons. Many creative interpretations can be developed. A first grade gives a youthful interpretation to the American "jam session." Concept of fast In order to show the class that bodily move- and slow through ments could express ideas other than free bodily move- story in music, this intermediate grade ment teacher developed a concept of "fast" and "slow" in music through free bodily move- ments. "Diiferent things make music interesting to us. One of these is the tempo, or fast and slow in music." "Tempo usually affects the mood or feeling of the music. Listen to the music to discover the difference in tempo and feeling." The teacher played the record "Russian Dance" from Nutcracker Suite by Tschai- kowsky. After the class has listened carefully to the music, allow the children to pantomine the fast moving music as each individual feels it. The teacher played "Shadows" by Schytte to let the class feel the slow movement of the music. The class then used free bodily movements to express the music. Rhythmic Expression 63 The record "Hungarian Dance No. 5" by Brahms was used to illustrate contrasts in tempo, dynamics, and mood. SINGING GAMES— FOLK DANCES— SQUARE DANCES Singing games, folk dances and square dancing are a neces- sary part of the rhythmic program. Every teacher should de- velop a repertory of this material as an aid to social growth. It will help to insure a wholesome adjustment between the sexes, as well as the development of body coordination. A very complete section on folk dances, singing games, and square dances will be found beginning on page 159 in Physical Education in the Elementary and Secondary School, published in 1952 by the State Department of Public Instruction. In the New Music Horizons Series, the singing games and folk dances are listed in the index. BIBLIOGRAPHY Andrews. Creative Rhythmic Movement for Childreyi. 1954. Prentice. Fielder. The Rhythmic Program for Elementary Schools. 1952. Mosby. Hamlin and Guessford. Singing Games for Children. 1951. WilKs. Hood and Schultz, Learning Music Through Rhythm. 1949. Ginn. Hughes. Rhythmic Games and Dances. 1942. American. Hunt and Wilson. Sing and Dance. 1945. Hall. Jones and DeHaan. Modern Dance in Education. 1948. Bureau of Publications, Teachers College. Columbia University. Kirkell and Schaffrit. Partners All — Places All! 1949. Dutton. LaSalle. Rhythms and Dances for Elementary Schools. Rev. ed. 1951. Barnes. Murray. Dance in Elementary Education. 1953. Harper. Physical Education in the Elementary and Secondary Schools. 1952. N. C. Dept. of Public Instruction. Rohrbough, Lynn. Folk Games and Dances of All Countries. Delaware, Ohio. Sehon and O'Brien. Rhythms in Elementary Education. 1951. Barnes. 64 Music in the Public Schools LISTENING RECORDINGS FOR SCHOOL USE The following outline is planned to follow the general course of study in music for all grades with supplementary material to serve an expanding program. It is not expected or desired that all of the materials listed be taught to any one group ; ratner, a wide choice of recorded material is presented to meet the needs of everyone. Recorded music is now used in connection with many school activities ; it is used in cafeterias, homerooms, laboratories, and hallways. It is used to enrich social studies and language arts programs. Some classes use recorded music during study periods and during intervals when classes change from one activity to another. A study of individual instruments helps students to appreciate the recorded music they hear. Listening 65 The music program employs recorded music to develop growth through bodily movement. Understanding of music is increased through careful listening in the development of creative move- ment to music. Singing records are an invaluable aid to the classroom teacher — as a tool in teaching a song, a model of interpretation, or for a moment of quiet listening or rest. General music recordings of many types are suggested here and elsewhere in the bulletin for use in the general music class and for correlation with curricular work. Educators now realize that our musical heritage can enrich the entire curriculum as well as the isolated music class. Suggestions for • Care should be taken to select recordings record selection with music that would be of greatest use in the school and would not be duplicated on other recordings. • Teachers should work together to select records which inte- grate with the social studies and language arts programs. • Keep in mind that most records are available in at least two speeds. These often differ in price. • It should be remembered that recordings with much narration are unsuited for rhythmic experiences. • Keep in touch with current changes in record lists by consult- ing record catalogues which are obtainable from local music stores and other sources, as : RCA Victor Educational Record Catalogue — Educational Service Dept. L-4, Radio Corporation of America, Camden, N. J. (10 cents) The Harrison Catalogue — "Children's Records", 274 Madison Ave., New York 16, N. Y. (Free) Phonograph Records for Classroom and Library, K-9 — Educa- tional Record Sales, 146 Reade St., New York 13, N. Y. (Free) Annotated, List of Phonograph Records, K-H.S. — Record Divi- sion, Children's Reading Service, 1078 St. John's Place, M 4 Brooklyn 13, N. Y. 66 Music in the Public Schools RECORD COLLECTIONS Ne%v Music Horizons, State-adopted, Singing School (SS) (78 rpm & (NMH) (78 rpm) 45 rpm) Music for Early Childhood, Books 1-8, 1 album each grade 1 album Together We Sing {TW^) {1% v^m) Books 1-6, 2 albums each grade Albums 1 2 S Books 7 & 8, 1 album each grade Christmas Carols, Album 20 American Singer (AS) (78 rpm) Patriotic Songs, Album 21 Books 1-8, 1 album each grade American Folk Songs, Album 22 Our Singing World (OSW) (78 rpm) Kindergarten Book, 1 album Books 1-6, 2 albums each grade Books 7-8, 1 album each grade Record Collections to Enrich Social Studies Recoi'ds of Knowledge (MM) Sing a Song of Heroes Sing a Song of Pioneers Sing a Song of Presidents Sing a Song of Inventors Enrichment Series (ER) (Dramatizations based on the Landmark Books) Available in 78 rpm and 33 Vs rpm. Voyages of Columbus LlOl Landing of the Pilgrims L102 California Gold Rush L103 Riding the Pony Express L104 Paul Revere and the Minute Men Our Independence and the Constitution Building the First Continental Railroad Wright Brothers: Pioneers of American Aviation Explorations of Pere Marquette Lewis and Clark Expedition Monitor and the Merrimac Lee and Grant at Appomattox Pocahontas and Captain John Smith The Winter at Valley Forge Daniel Boone : Opening of the Wilderness Sam Houston: the Tallest Texan Historical America in Soyig (EBF) Songs of the Colonies, Album 1 Songs of the Revolution, Album 2 Songs of the North and South, Album 3 Songs of the Sea, Album 4 Songs of the Frontier, Album 4 Through music and art these first graders re-live their recent train trip. Songs of Expanding America, Album 6 RCA Collection of Music Around the World V RCA Ethnic Folkways Library (EF) in following areas: North America, South America, Carribean Area, Africa, Asia, Pacific Areas. RCA Victor Basic Record Library for Elementary Schools (VE) (78 rpm & 45 rpm) The Rhythm Program, Primary Grades, Vols. 1-2-3; Upper Grades, Vols. 4-5-6 Listening Program, Primary Grades, Vols. 1-2-3; Upper Grades, Vols. 4-5-6 Singing Program, Primary, 1 Volume; Upper Grades, Vols. 4-5-6 Special Activities : Singing Games, Christmas Album, Indian Album, Rhythm Bands, Patriotic Songs of America Music to Retnember (MSB) (78 rpm) Classic Dance Types: National Dances, The March, Tone poems. The Stage, Standard Repertory. Music to Remember for Young Listeners Green Section, Crimson Section, Blue Section, Edward MacDowell Piano Music for Young Listeners, Tiny Masterpieces for Very Young Listeners. 68 Music in the Public Schools RECORDS FOR LOWER ELEMENTARY GRADES Home. Lonesome House CRG 5013 Peaceful Music NMH Album 1 Sleepy Songs NMH Album 3 Songs for Special Times NMH Album 1 Singing in the Kitchen YPR 730 Scenes from Childhood — Schumann V LM 1109; MSB 78006—78007 tSounds Around Us, "Around the House", SF Lullabies V E77 The Sleepy Family YPR 611 My Dear Mummie — Gretchaninov MSB 23A Manners Can Be Fun D CU 105 Men Who Come to Our House YPR 737 The Carrot Seed CRG 1003 Hooray, Today is Your Birthday YPR 222 +Jeux d'En Fants (Happy Children) Bizet V M 510 Community Helpers (Town and Farm). Community Helpers NMH Album 1 Around Home and Town Album 1 tSounds Around Us, "Around the Town", SF Building a City YPR 711 Little Fireman YPR 615 Hook and Ladder No. 99 C MJV 142 *In a Clock Store— Orth The Blacksmith— Brahms VE 73 The Harmonious Blacksmith — Handel V LM 1217 The Merry Farmer — Schumann MC 15 (Theme, Bk. 2 NMH) The Little Shepherd, "Children's Corner" Debussy VE 78; MSB 78037 Little Shepherd of Bible Land YPR 3403 The Shoemaker and the Elves D CUS 8 tRide 'Em Cowboy CRG 5001 Sing a Song of Safety — Caesar Decca (Filmstrip) Harvest Time YPR 9001 Animals at Home and Farm. Animal Fair— Burl Ives C MJV 59 Carnival of the Animals— Saint Saens V LM 1761; MSB 78010-78012 Chicken Licken D CUS 11 ■f-Carbon the Copy Cat Cap CAS 3103 Of a Tailor and a Bear— MacDowell VE 78; MSB 60040 Of Brer Rabbit— MacDowell VE 79; MSB 60040 (Theme, Bk. 3 NMH) Lonesome Pine (Stag) V EYB 2016 Rusebud (Rabbit) V EYB 2016 + Sounds Around Us YPR 715 Wild Horseman — Schumann VE 78 The Three Bears Suite— Erie Coates CML 4274; MSB 78038 Waltzing Cat — Leroy Anderson Waltzing Elephant YPR 715 Tame Bear— Elgar VE 78 DD17509 tSuggested in Teachers Guide, Scott Foresnian Readers. 'No longer available. Listening 69 Our Animal Friends NMH Album 2 The Fox and Mazurka of the Mice — Voormolen MSB 24B The Raggletaggle Town Singers Decca K 91 tLittle White Duck C J85 Whoa Little Horses YPR 714 The Gingerbread Boy D CU 110 The Little Red Hen D CUS 11 Three Billy Goats Gruff D CUS 10 +The Bear That Wasn't MGM 12A The Ugly Duckling Decca K 89 tWinnie the Pooh D CU 109 Peter and the Wolf V Y386 Goldilocks and Three Bears D CUS 9 Skittery-Skattery CRG 1005 Insects — Birds. Creepy the Crawly Caterpillar CRG 5019 The Bee— Schubert VE 79 Flight of the Bumble Bee — Rimsky-Korsakov V 17-0372; LCT 1050 (Theme, Bk. 3 NMH) Moths and Butterflies— Elgar VE 78 *Insects in Music — Liadov Decca Mosquito Dance— White V ERB 26; LM 1790 Bird Calls VY 4002 Cuckoo In The Woodsl The Birds I Carnival of the Animals — Saint Saens The Swan J V LM 1761; MSB 78012 To a Humming Bird— MacDowell MSB 60040 The First Swallow— Voormolen MSB 24A Song Birds of America B R N 5965 Flowers. To a Wild Rose— MacDowell MSB 60040; C 92512 Waltz of the Flowers "Nutcracker Suite" — Tchaikovsky V WDM 1468; MSB 78035 Spring Song — Mendelssohn V LM 1171 Toys. Concerto for Toys— Hendl YPR 432 Dance of the Chinese Dolls "Christmas Tree Suite"— Rebikoff VE 80 Hobby Horse "Memories From Childhood" — Pinto VE 77 Nutcracker Suite— Tchaikovsky V LRY 9000; DCU 117; V BY 8 The Toy Trumpet— Scott V PR 26 Knight of the Hobby Horse— Schumann VE 73; MSB 78007 March of the Little Lead Soldiers— Pierne VE 77; MSB 78015 March of the Tin Soldiers— Tchaikovsky VE 73 i Suggested in Teachers Guide, Scott Foresman Readers. "No longer available. 70 Music in the Public Schools March of the Toys and Toyland) ^ Toyland \ Herbert C ML 4430 tParade of the Wooden Soldiers— Jessel C4 709 (Theme, Bk. 2 NMH) Impromptu (The Top "Petite Suite"— Bizet VE77; MSB 78008B Waltzing Doll— Poldini VE 78; VERA 77; MSB 78016 (Theme, Bk. 2 NMH) Serenade for Doll ] "Children's Corner Suite" — Debussy Golliwog's Cake Walk^ C ML 4539; MSB 78043 Toy Symphony— Haydn VE 79; YPR 1001 Music of Our Country. Stars and Stripes Forever— Sousa V LM 69 (Theme, Bk. 2 NMH) El Capitan— Sousa V LM 69 Star Spangled Banner V-49; V-1415 Patriotic Songs of America VE 91 Patriotic Songs Album 2 F Our Country NMH 3 The Weather. The Storm "William Tell Overture"— Rossini V URE P 39; MSB 78047-78048 *Wind Amongst the Trees — Briccialdi Sleigh Ride— Anderson V 10-1484; 49-0515 Snow is Dancing — "Children's Corner Suite" Debussy C ML 4539; MSB 78037A To Spring— Grieg VE 82 (Theme, Bk. 2 NMH) Skater's Waltz— Waldteufel VE 74 tSigns of the Weather NMH Album 2 Country Gardens LM 1238; VE 76 (Theme, Bk. 3 NMH) Travel — Going Places. Train to the Farm CRG 1011 Train to the Zoo CRG 1001 Sailing NMH Album 2 Ship Ahoy CRG 5003 Travel NMH 3 Pony Express YPR 507 Barcarolle "Tales of Hoffman" — Offenbach MGM #139; V 11-9222 V 49-0300 (Theme, Bk. 2 NMH) Three Little Sailors YRP 738 tReal Train Sounds C MJV 125 Skyliner Flight 35 CMJV 144 Tugboat Peter Moran CMJV 142 The Chugging Freight Engine YPR 728 The Little Engine That Could CMJV 4113 Trains and Planes YPR 706 T^Suggested in Teachers Guide, Scott Foresman Readers. "No longer available. Listening 71 The Beach. Boating on the Lake — Kullak VE 72 Play on the Beach — Mompou VE 80 Barcarolle "Tales of Hoffman" — Offenbach V 11-9222; V 49-0300; MGM E 139 tThere She Blows YPR 426 The Fair, Circus and Zoo. Of Brer Rabbit— MacDowell E 79 or MSB 60040 Train to the Farm CRG 1011 Marionnettes — MacDowell VE 79 Clowns "Midsummer Night's Dream" — Mendelssohn VE 71 Carnival of the Animals— Saint Saens V LM 1761 or MSB 78010-78012 Of a Tailor and a Bear— MacDowell VE 78 or MSB 60040 Waltzing Cat— Anderson D DL 7509 Tame Bear "Wand of Youth Suite"— Elgar VE 78 Funeral March of a Marionette— Gounod V WEPR 27 or MSB 78021 Golliwog's Cake Walk— Debussy VE 78 or CML 4539 or MSB 78037 Arabian Dance "Nutcracker Suite" — Tchaikovsky V WDM 1468 or MSB 78034A The Wild Horseman— Schumann VE 78 The Merry Go Round NMH 1 The Hurdy-Gurdy Man— Goossens VE 78 At the Circus NMH 1 The Greatest Show on Earth V P 333; EPB 3007 or LP 3007 The Little Puppet CRG 1016 Train to the Zoo CRG 1001 The Circus Comes to Town YRP 713 Come to the Fair YPR 733 Circus C CL 6246 Community Life of the Past. Indians Indian Album VE 89 Indian Lullaby VE 83 Deer Dance VE 80 tLittle Indian Drum YPR 619 Little Hawk, the Indian Boy YPR 435 From an Indian Lodge — MacDowell VE Early Settlers Going West YPR 301 Pony Express YPR 409 Going West YPR 301 jSiiggested in Tenchers Guide, Scott Foresman Readers. 72 Music in the Public Schools Adventures of Daniel Boone YPR 425 Birth of Paul Bunyan YPR 404 Working on the Railroad YPR 427 Spinning Song— Kullak VE 78 The Mill NMH 3 Concertina That Crossed the Country YPR 414 Paw Paw Patch NMH Album 4 Shoo Fly NMH Album 5 Grand Ma Grunts ) ,^,,^^ .„ ry n 4.1, w 1^ NMH Album 3 Pop Goes the Weasel j Big Rock Candy Mountain YPR 509 Cowboys Home on the Range Decca CUS 17 Chisholm Trail YPR 409 tRide 'Em Cowboy CRG 5001 Let's Go to the Rodeo YPR 503 Stories in Music. Gnomes — Reinhold VE 71 Dwarfs— Reinhold VE 71 Fairies Scherzo — Schubert VE 71 Elfenspeil— Kjerulf VE 73 The Witch— Tchaikosky VE 73 Fairy Pipers from Wand of Youth Suites — Elgar E 78 Witch; Marionnettes— MacDowell VE 79 or MSB 60040 March of the Gnomes "Christmas Tree Suite"— Rebikoff VE 79 March of the Dwarfs "Lyric Suite"— Grieg E 79 or MSB 78032 Waltzing Elephant YPR 715 (See also NMH 3, page 77 and Teachers Manual for Primary Grades page 30.) Nutcracker Suite— Tchaikovsky V WDM-1468 or MSB 78033-78035 Hansel and Gretel— Humperdinck VE 80, VY 2007 or WY 2007 Children's Corner Suite— Debussy C ML 4359 or MSB 78036-78037 Adventures in a Perambulator — Carpenter CHS 1140 Peter and the Wolf— Prokofiev C 4038 or V LM 1761 Emperor's New Clothes YPR 100 7/8 Cinderella— Prokofiev CRG 201 Sleeping Beauty— Tchaikovsky CRG 202 The Little Red Hen D CUS 11 Chicken Licken The Gingerbread Boy D CU 110 Three Billy Goats Gruff D CUS 10 Mother Goose Suite— Ravel C ML 4355 or MSB 78013-78014 *In a Clock Store — Orth *A Hunt in the Black Forest — Voelkner "No longer available. fSuggested in Teachers Guide, Scott Foresman Readers. Listening 73 Of a Tailor and a Bear— MacDowell VE 78 or MSB 60040 Carnival of the Animals— Saint-Saens MSB 78012 or VLM 1761 The Bells of Calais YPR 710 Little Hawk, the Indian Boy YPR 435 The Golden Goose CRG 5002 Goldilocks and the Three Bears (KDG-OWS) D CUS 9 The Ugly Duckling Singing and Rhyming Luther 1002 The Raggletagg-le Town Singers Singing and Rhyming Luther 1001 Mozart— His Story and His Music Vox. VL 2510 A Walk in the Forest YPR 805 Scenes from Childhood— Schumann V LM 1109 or MSB 78007-78006 '•'Children's Suite — Roy Harris A Children's Overture— Roger Quilter MSB 78022 +0n Lemmer Lemmer Street CRG 5006 +Tar-Baby Story BCR AJ 16 William Tell Overture— Rossini V LM 14 (Theme, Bk. 2 NMH) Jack and the Beanstalk D K 93 Sleeping Beauty — Luther D K 90 The Shoemaker and the Elves D CUS 8 Haydn, His Story and His Music Vox. VL 2610 An Invitation to the Dance — Weber V LM 6113; V LM 1165 (Theme, Bk. 2 NMH) + Sorcerer's Apprentice — Dukas V LM 1118 Madeline VEYB 2016 El Torita the Bull Cap CAS 3194 Robin Hood YPR 1010/11 Quiet Music. Children's Prayer "Hansel and Gretel" Humperdinck VE 80 Berceuse from Jocelyn — Godard C CL 512 To a Wild Rose— MacDowell C CL 512 or MSB 60040 Cradle Song — Schubert Lullaby — Mozart Lullaby— Brahms ( (Theme, Bk. 2 NMH) Hush My Babe — Rousseau ( VE 71 Sweet and Low — Barnby Rocky-A-Bye Baby The Swan "Carnival of the Animals" — Saint Saens MSB 780 12 or V LM 1761 (Theme, Bk. 3 NMH) Little Dustman — Brahms NMH Album 1 Sleepy Songs— NMH Album 3 Child Falling Asleep— Schumann MSB 78007B By the Fireside— Schumann MSB 78006B Nocturne "Midsummer Night's Dream" — Mendelssohn V LM 1863 (Theme, Bk. 2 NMH) Barcarolle "Tales of Hoffman"— Offenbach MGM E 139 Waltz of the Flowers "Nutcracker Suite" — Tchaikovsky V WDM 1468 MSB 78035 "No longer available. tSuggested in Teachers Guide, Scott Foresman Readers. 74 Music in the Public Schools Scenes from Childhood— Schumann V LM 1109 MSB 78006-78007 Largo "Xerxes"— Handel V 49-3808; V DM 1703; V LM 1703; MSB 78001 Ave Maria— Schubert V 49-3448; VLM 96 Panis Anglieus — Franck V 49-1447 Indian Lullaby VE 83 Blue Danube Waltz V 49-1076; MSB 78021 Praeludium— Jarnefelt VE 72 Activity Records. Nothing to Do CRG 1012 iWhen the Sun Shines YPR 617 I Rainy Day YPR 712 tPoetry Time SF iThe Party Record BCR AJ 11 Let's Play Together YCR 4503 Winter Fun YPR 718 More Playtime Songs YPR 729 Skip to My Lou BCR AJ 5 Indoors When It Rains CRG 1021 tWhen I Grow Up YPR 725 Little Puppet CRG 1016 tGuess Who I Am, Whoa Little Horses YPR 714 Guess What I Am MGM S-15 Primary Music Series ABC Soft-Loud AS 20 Rhythm AS 22 High-Low ... AS 21 Traditional Games AS 23 Listen and Do Series ABC Vol. 1 Ginger & Josh; Friendly Train Vol. 2 Little Clowns; Handsome Scai-ecrow Vol. 3 Panda Balloon; Jocko, the Dancing Monkey Vol. 4 Sing and Play; Work and Play — My Shadow Rhythm Instruments. Rhythm Bands VE 90 Let's Have a Rhythm Band C J 167 Strike Up the Band CRG 5027 Toy Symphony— Haydn YPR 1001 The Syncopated Clock D 40201 Rhythm Instruments, Honor Your Partner SDA Concerto for Toys and Orchestra — Hendl YPR 432 Penny Whistle YPR 603 Lead a Little Orchestra C J 115 (Introduction to Instruments of the Orchestra, See p. 97) Rhythms Primary Grades VE 71; 72; 73 Let's Play and Sing] T ^, O.L AT f NMH Album 1 Let s Step Along \ Let's Pretend ) xthttt a lu o ,. . . ... J -r, <- A- c NMH Album 2 Music for Acting and Pretending^ Games to Playl Singing Games I NMH Album 3 Let's Dance J t-SiiCgPStpd in Trnrhrrs (Uiirlr, Scott Fore'inian Rpad'-rs. Listening 75 Fundamental Rhythms. Childhood Rhythm Records — Ruth Evans. # Series 1 & 2 Honor Your Partner S.D.A. Music for Rhythms and Dance Rainbow Rhythms FM Series 1-2-3 RR tRhythm Records — Phoebe James PJ tRhythmic Play Sally Tobin Dietrich S.B. Square Dances for Children — Piper C J147 C J4-147 Recognizing Contrasts in Music. The March Toy Marches March of the Little Lead Soldiers — Pierne VE 77 or MSB 78015 (Theme, Bk. 2 NMH) March from the Petite Suite — Bizet VE 77 March of the Tin Soldiers— Tchaikovsky VE 73 March "Nutcracker Suite"— Tchaikovsky VE 71 or MSB 78033 March "Little Soldier"— Pinto VE 77 March of the Wee Folks March of the Gnomes "Christmas Tree Suite"— Rebikoff VE 79 March of the Dwarfs from Lyric Suite— Greig- VE 79 or MSB 78032 Marches for Listening Marche Militaire— Schubert VE 73 or MSB 78005 - ^_ March — Bach— MacDowell VE 73 Military Marches Soldiers March — Schumann VE 72 March in D Flat— Hollander VE 72 Stars and Stripes Forever— Sousa D L5057 (Theme, Bk. 2 NMH) The Waltz Waltz in A''— Brahms VE 78 (Theme, Bk. 2 NMH) Waltz in D'^ "Minute Waltz"— Chopin VE 79 Waltzes Nos. 1, 2, and 9— Brahms VE 72 Valse Serenade — Poldini VE 71 Love's Dream — Czibulka VE 71 Skater's Waltz— Waldteufel BE 74 Waltz of the Flowers "Nutcracker Suite — Tchaikovsky V WDM 1468 or MSB 78035 The Waltzing Elephant YPR 715 My Hero "Chocolate Soldier" C ML 4060 (Theme, Bk. 2 NMH) [■Suggested in Teachers Guide, Scott Foresman Readers. 76 Music in the Public Schools VE 74 MSB 78003 (Theme, Bk. 3 NMH) E 90 (Theme, Bk. 3 NMH) The Minuet Minuet "Don Juan" — Mozart Minuet— Beethoven VE 77 Minuet — Paderewski VE 77 Minuet in G— Bach MSB 27 Country Dances— Mozart YPR 313 Pizzicato Polka— Delibes VLM 1083 (Theme, Bk. 3 NMH) Bartered Bride (Polka) D 4014 (Theme, Bk. 3 NMH) Dances Not for Dancing V LM 1185 Fast The Wild Horseman— Schumann VE 79 Of Br'er Eabbit— MacDowell VE 79 or MSB 60040 (Theme, Bk. 3 NMH) Flight of the Bumble Bee — Rimski-Korsakov B 17-0372 or LCT 1050 (Theme, Bk. 3 NMH) To a Humming Bird— MacDowell MSB 60040 - •" -^- Soft and Loud ABC AS 20 Slow To A Wild Rose— MacDowell MSB 60040 or C GL 512 The Cuckoo in the Woods "Carnival of the Animals" — Saint Saens V LM 1761 or MSB 78011 The Swan "Carnival of the Animals" MSB 78012 or V LM 1761 (Theme, Bk. 3 NMH) Grand opera is interpreted through dramatizing, costuming and painting. Listening 77 Happy The Merry Farmer MC 15 Spring Song — Mendelssohn V LM 1171 or VE 79 Happy and Light of Heart "Bohemian Girl"— Balfe VE 72 Praeludium — Jarnefelt VE 72 '" ' Quiet Berceuse "Jocelyn"— Godard C GL 512 The Swan "Carnival of the Animals" Saint Saens MSB 78012 Hush My Babe — Rousseau VE 71 (Refer to Quiet Music, P. 73) Mysterious In the Hall of the Mountain King "Peer Gynt"— Greig V WDM 7002 or MSB 78029 The Witch— Tchaikovsky VE 73 Gnomes — Reinhold VE 71 RECORDINGS FOR UPPER ELEMENTARY GRADES America. Indian American Indians EF 420 Indian Album VE 89 War Dance— Skilton VE 89 (Theme, Bk. 4 NMH) From the Land of the Sky Blue Water — Cadman VE 84 (Theme, Bk. 5 NMH) Deer Dance "Suite Primeval"— Skilton VE 80 Little Indian Drum YPR 619 Negro Negro Music in Africa and America EF 500 Spirituals: Swing Low VE 84 Spirituals: Marian Anderson V LM 110 Steal Away NMH 5 Go Tell It on the Mountain NMH 6 Spirituals : The Jordanaires V EPB 3081 ; V LPM 3081 Cakewalk— Gottschalk (Kay) C ML 4616 Juda Dance— Dett VE 76 MSB 78024 From the Canebrake — Gardner VE 76 Symphony #5 in E Minor "New World" (2nd Movement) Dvorak V LM 1778 Work Song No. 1, "From the Delta"— Still C ML 2029 78 Music in the Public Schools Pioneer Music (Early settlers) Down in the Valley NMH 6 Shuckin of the Corn VE 85 Frog Went A- Courtin VE 84 Sourwood Mountains NMH 5 Lonesome Valley VE 85 El-H-Noy VE 85 Turkey in the Straw (Arr. Guion) VE 75; MSB 78024 Our American Music NMH 5 American Folk Songs NMH 5 American Songs NMH 6 (Enrichment Records, See page 66) How Our Country Grew Christopher Columbus YPR 508 Yankee Doodle (Arr. Gould) ML 2029 The Adventures of Daniel Boone YPR 425 Going West YPR 301 Chisholm Trail YPR 409 The Concertina that Crossed the Country YPR 414 The Birth of Paul Bunyan YPR 404 The Pony Express YPR 507 Working on the Railroad YPR 427 Let's All Join In YPR 403 Under Ground Train (slaves) YPR 406 Timber-r-r-r YPR 504 Who Built America EF 2 (Historical America In Song — Burl Ives EBF, See page 66) Patriotic Patriotic Songs of America VE 91 Yankee Doodle (Arr. Gould) C ML 2029 Fourth of July— Gould C ML 2029 American Salute— Gould C ML 4218 Stars and Stripes Forever— Sousa V EPB 3014 Spirit of Freedom) ,, ^_,, „ „^ J. . , , t V LPM 3120 Dixie Land J American Fantasy— Herbert C AL 21 (Theme, Bk. 5 NMH) American Composers Describe America *Skvscrapers — Carpenter Billy the Kidd— Copland C ML 2167 Spirituals for Orchestra— Gould C ML 2042 Work Song "From the Delta"— Still C ML 2029 Plow That Broke the Plains— Thompson D 75 27 The Louisiana Story— Thompson C ML 2087 'No longer available. Listening 79 Grand Canyon Suite— Grofe C ML 4059 Mississippi Suite— Grofe C ML 2046 Oklahoma— Rodgers S. Sch. 61; V LPM 3150 Mediterranean Countries. Italy V LM 1768 Fountains of Rome — Respighi) Pines of Rome — Respighi ^ Roman Festival C ML 4020 Sole Mio di Capua VE 84 Napoli Caracciolo NMH 6 Siciliana (L'Allegro) Handel VE 73 Around the World in Music VEB 3092 Greece Pan the Piper C J214 Dances of the Happy Spirits "Orfeus and Eurydice" — Gluck V 49-3301; MSB 78046 March "Iphigenia in Aulis" — Gluck VE 75 Minuet in F "Orfeus and Eurydice" — Gluck VE 75 The Youth of Hercules— Saint-Saens VE 82 Dance of the Trojan Maidens — Faust-Gounod V ERA 64 The Trojan Horse "Music, Love of Three Oranges" — Prokofiev Cap KASF 3207 Diana and the Golden Apples (Music — Lieutenant Kiji) — Prokofiev Cap KASF 3209 The Seasons (Music— Glazounov) Cap CAS-3195 Epics and Ballads EF 457 Songs and Dance of Greece EF 814 Panegyris Vol. I Greek Folk Songs and Dances ES 527 Vol. II Greek Island and Mountain Songs ES 531 Israel Shepherd and Other Folk Songs EF 841 Little Shepherd of Bibleland YPR 3404 Spain Spanish Folk Music CSL 216 Spanish Ethnic Music EF 411 Ritual Fire Dance— DeFalla V WDM 1639; LM 162 Espana Rhapsodic — Chabrier V ERA 1 Around the World in Music Vol. I V EPB 3092 El Torita (The Bull)— Bizet Cap CAS 3194 80 Music in the Public Schools Africa African & African-American Drums EF 502 Negro Folk Music of Africa and America EF 500 Ethiopia EF Music of Africa (World Library of Folk & Primitive Music) C SL 213; C SL 205 Anitra's Dance "Peer Gynt Suite" — Grieg V DM 1468; MSB 78034 (Theme, Bk. 4 NMH) Arabian Dance "Nutcracker Suite" — Tchaikovsky V DM 7002; MSB 78029 Songs from The Veld (Marais) D 5083 Songs of South African Veld D 5399 South African Veld D 5014 South African Folk Songs C CL 6226 Folk Tales from West Africa EF 103 Asia. China Chinese EF 802 Chinese Classics EF 12 Dance of the Chinese Dolls— Rebikoff VE 80 Chinese Dance "Nutcracker Suite" — Tchaikovsky The Chinese Vegetable Man NMH 4 Japan Japan C SL 214 India India EF 409 Indonesian C SL 210 Song of India "Sadko" — Rimski-Korsakov V 4303; V 49-1445 V ERA 20 Indonesia Folk Tales from Indonesia EF 102 British Isles. England Folk Songs C SL 206 London Symphony — V. Williams LL 569 Greensleeves "Fantasia" LL 583 Shepherd's Hey (Arr. Grainger) VE 76 Country Gardens VE 76: C AL 49 (Theme, Bk. 3 NMH) English Dances — Arnold V LBC 1078 Listening 81 The Keeper NMH 4 Botany Bay NMH 6 Pomp and Circumstance — Elgar V 49-0616 Ireland Irish Folk Music EF 18 Irish Folk Songs C SL 204 The Irish Washerwoman — Sowerby VE 75 The Meeting of the Waters NMH 5 Scotland Scotch Bagpipe Tunes EF-FP 17 Scotch Folk Songs C SL 209 Afton Water NMH 5 Wales Folk Songs EF 835 The Ash Grove NMH 5 Central Europe. France French Folk Songs EF 708 : Folk Music EF 414 Folk Songs C SL 207 The Sunken Cathedral — Debussy C ML 4291 Switzerland Skater's Waltz— Waldteufel VE 73 William Tell Overture— Rossini V UREP 39; MSB 78047-78048 Lucerne to Weggis NMH 5 *In a Clock Store — Orth Cuckoo Who Lived in A Clock C JL 8010 Music Box — Liadov VE 81 Music Box (Templeton Collection) Cap 56 The Story of the Music Box BR CS 1011 Folk Songs EF 807 Germany Folk Songs EF 843 Around the World in Music EBT 3007; LPT 3007 'No longer available. 82 Music in the Public Schools Austria Kreisler Favorites (Viennese Melodies) J. Strauss Waltzes V 49-1076 MSB 78021 The Mountain Stream NMH 6 Hungary Hungarian Rhapsody No. 2 — Liszt V 12-0763; 49-0308 Hungarian Dances — Brahms V WDM 1518; LM 67 CZECHOSLOVOKIA The Moldau— Smetana V WDM 7009; LM 1118 Why Are We Waiting NMH 6 Ah, Lovely Meadows NMH 6 Slavonic Dance (G Minor) V 49-0460 . ^ The Handkerchief Dance NMH 5 Poland Mazurkas— Chopin V LM 1109 Polonaise in A Major CP 40 No. 1 MSB 78044 (Theme, Bk. 6 NMH) Russia Folk Songs EF 820 Polka "Golden Age"— Shostakovitch VE 82 Dances of the Polovetzki Maidens "Prince Igor" — Borodin VLM 1054 Volga Boatman VE 84 Andante Cantabile V CAE 161; V CAL 121 1812 Overture— Tchaikovsky C ML 4049 Sabre Dance "Gayne Suite" — Khachaturian CRS Scandinavian Countries. Norway Peer Gynt Suite V DM 7002; MSB 78029-78031 Norwegian Bridal Procession VE 81; MSB 78031 Norway Folk Music EF 1008 Songs and Dances of Norway CRS Finland Finlandia— Sibelius V LRM 70050; CAL-9 Sweden Folk Songs EF 844 Oh Vermeland VE 81 Listening 83 Music of the Americas. Canada Canadian Folk Music C SL 211 French Canadian Song EF 29 Northwoods Songs EF 813 Gay the Rose ABC AS 7 The Rosebud ABC AS 7 Hawaii Aloha ABC AS 8 Tropical Isle ABC AS 7 United States (See Index and Recordings for American Singer, Books 7 & 8; Burl Ives Recordings for Encyclopedia See P. 66) Stephen Foster Favorites V LM 76 This is My Country— Fred Waring D A 310 What So Proudly We Hail— Bing Crosby D DA 453 Sousa's Marches VE PB 3014 or LH 3014 or D L 5075 American Salute— Gould C ML 4218 Fourth of July— Gould C ML 2029 Yankee Doodle (arr. Gould) C ML 2029 Grand Canyon Suite— Grofe C ML 4059 Mississippi Suite— Grofe C ML 2046 The Plow that Broke the Plains— Thomson D DL 7527 Juba Dance— Dett VE 76 or MS 78024 War Dance "Suite Primeval"— Skilton VE 89 or MSB 78024 From the Canebrake — Gardner VE 76 Billy the Kid— Copland C ML 2167 Rodeo (Four Dance Episodes)— Copland C ML 2042 A Lincoln Portrait C ML 2042 Marian Anderson Sings Spirituals V LM 110 Jazz Band (Origin of the Blues) YPR 410 Battle Hymn of the RepubMc V ERA 178 The Confederacy C SL 220 Builders of America (Lincoln & Washington)— McDonald C ML 2220 Music of Aaron Copland YPR 408 (See Music for America, P. 77) Neighbors to the South (See Index and Recordings for American Singer, Books 7 & 8.) South of the Border NMH 6 Song of Mexico EF EP 15 Argentine Folk Songs EF EP 810 Caribbean Dances EF EP 840 In the Latin Flavor V LM 162 Malaguena— Ernest Lecuona (Cuban) V WDM 1639 or LM 162 El Salon Mexico— Gould CML 2203 Latin America Symphonette — Gould MG 4002 84 Music in the Public Schools Brazil [VWDM 1639 or V LM 162 Mexican Hat Dance V 48-0029 Around the World in Music (Mexico) V EPB 3091 Bachianas Brasileiras #5 Villa-Lobos V LY 142 Collection Correlating Music With Various Countries. Music of the World's People (Selected by H. Cowell) Vol. I EF 504; Vol. II 505 Dances to Dance — Grades 4-12. Classical Dance Rhythms EBF Community Folk Dances ERS (Seven couples and one group dance) Folk Dances of Many Lands ERS Folk Dances of the People ERS Folk and Square Dances — Burns & Wheeler Album A — American, Swedish, Dutch, Swiss, German (with instructions) Album B — Scotch, Italian, Danish, Norwegian, Swedish, Irish (with instructions) Album C — American Dances (with instructions) Album D — American Dances — Red River Valley, Birdie in the Cage, and others. Album G — Carrousel, Children's Polka, and others. Album H — Bleking, Heel and Toe Polka, and others. Album J — Mexican Waltz. Maypole Dance, and others. Folk Dance Records — Ruth Evans Albums I & II Honor Your Partner Series — Durlacher (Simplified System of Square Dancing) Albums 1, 2, 3, 4, 5, 6. Square Dance ABC SD 1 Let's Dance Longways Dances ABC SD 2 Victor Folk Dance Records #45 — 6169 Ace of Diamonds & Bleking #45—6170 Gustaf's Skoal & Lott' ist Tod #45 — 6171 Klappdans & Shoemaker's Dance #45 — 6172 Seven Jumps (Danish) & Bingo (American) #45 — 6173 Norwegian Mountain (Danish) & Tra-La-La-La (Norwegian) #45 — 6174 Sellenger's Round (English) & Gathering Peascods (English) #45—6175 Green Sleeves (English) & Ribbon Dance (English) #45—6176 Crested Hen (Danish) & Chimes of Dunkirk (Belgian) #45 — 6177 Come Let Us Be Joyful (German) & Bummel Schottische (German) #45 — 6178 Oh Susanna (American) & Irish Washerwoman (Irish and American) #45 — 6179 Carrousel (Swedish), Kinderpolka (German), Highland Fling (Scotch), Highland Schottische (Scotch) This boy is studying background materials necessary for full appreciation of a symphony orchestra concert. #45 — 6180 Virginia Reel (American) & Pop Goes the Weasel (American) #45—6181 Minuet (Mozart) & Maypole Dance (English) #45 — 6182 Turn Around Me (Czechoslovakian) , Hansel and Gretel (German), The Wheat (Czechoslovakian), Cshebogar (Hungarian) #45—6184 Blackberry Quadrille & Soldier's Joy Story Music. (See Program Music, p. 95.) Becoming Acquainted With Composers and Their Music. Music Master Series — Vox Brahms, VL 2580; Chopin, VL 2520; Bach, VL 2500; Beethoven, VL 2600; Schubert VL 2540; Tchaikowsky, VL 2570; Mozart, VL 2510; Haijdn, VL 2610; Mendelssohn, VL 2590; Schiimanyi, VL 2550; Stephen Foster, VL 2620; Grieg, VL 2560. Music Master Series — Columbia Chopin, J 207; Haydn, J 165; Mozart, J 166. Brahms, Johannes (German) Hungarian Dance No. 5 VE 82 Symphony No. 1 (Theme— 4th Movement) VE 82 86 Music in the Public Schools Chopin, Frederic (Polish) Chopin Favorites V WDM 1227 Raindrop Prelude } j^gg ^^g^^^ Polonaise in A Major ^ Handel, George Frederick (German) Hallelujah Chorus (Boston Pops)— V 49-0292; (Royal Choral Society) V 11825. Largo "Xerxes" V 49-1007 or MSB 78001 Bach, Johann Sebastian (German) Fugue in G Minor (The Little Fugue) V LM 1176 Organ Music of Bach C ML 4097 Beethoven, Ludwig Von (German) Minuet in G VE 77 or ERA 29 Symphony No. 5 in C Minor, 1st Movement (abridged) V WDM 1410 or LM 1085 Schubert, Franz (Austrian) First Movement "Symphony No. 8 in B Minor" (Unfinished abridged) V WDM 1410 or LM 1085 The Erlking V LM 98 Tchaikovsky, Peter Ilyitch (Russian) Nutcracker Suite V WDM 1468 or MSB 78033-35 Overture 1812, Op. 49 CML 4049 Debussy, Claude (French) Children's Corner Suite (Casadesus) CML 4366 or ML 4291 or MSB 78073 Clair de Lune (Excerpt) VE 81 Grieg, Edvard (Norwegian) Peer Gynt Suite V WDM 70002 or MSB 78029-78031 To Spring VE 82 or GML 4334 Wagner, Richard (German) Festival March "Tannhauser" VE 81 Prelude to Act I and Act III "Lohengrin" D DL 4030 Mozart, Wolfgang Auiadeus (Austrian) Minuet "Don Juan" V 1199a or E 75 or MSB 78003 The Magic Flute Overture V 49-0903 Haydn, Fnuiz Joseph (Austrian) Andante "Surprise Symphony" VE 80 or MXB 7802 Toy Symphony YPR 1001 or VE 79 or MSB 7803 Mendelssohn, Felix (German) Midsummer Night's Dream V WDM 1724 or MSB 78025-78028 Spring Song VE 79 Prokofiev, Serge (Russian) Peter and the Wolf C 4038 or V LM 1761 Cinderella CRG 201 Listening 87 Liszt, Franz (Hungarian) Hungarian Rhapsodies V LBC 1070 Strauss, Johann (Austrian) Strauss Waltzes V ERB 6; V LM9025; V LM1869 Schumann, Robert (German) Carnival WBC 1025; LBC 1025 American Composers MacDowell, Edward From an Indian Lodge VE 89 or MSB 60040 To a Wild Rose MSB 60040 Foster, Stephen Collins Stephen Foster in Song and Story V WDM 1566 Stephen Foster Favorites V WDM 1412 or LM 76 Soiisa, John Phillip Sousa Marches (Goldman's Band) D DL 5057 Stars and Stripes Forever V 20132 Herbert, Victor Music of Victor Herbert CML 4430 Babes in Toyland D LP 7004 Grofe, Ferde Grand Canyon Suite CML 4059 Mississippi Suite CML 2046 Anderson, Leroy Pops Concert (Sleigh Ride, etc.) D 7509 Pops Concert (Fiddle Faddle, etc.) D 7519 Copland, A aron Billy the Kid CML 2167 Music of Aaron Copland YPR 408 Gershwin, George Rhapsody in Blue C ML 4026 Porgy and Bess (Highlights) V LM 1124 Gould, Morton American Salute C ML 4218 Cowboy Rhapsody C ML 4218 Contemporary Composers Milhaud, Darius (French) Opus Americanum #2 CAP P 8224 Honegger, Arthur (French) Pacific 231 NSB 78156 88 Music in the Public Schools Hoist, Gustav (English) The Planets LL 1019 Copland, Aaron (American) Appalachian Spring V LOT 1134 Hindemith, Paul (German) Matthias the Painter V LM 1089 Carpenter, John Allen (American) Sky Scrapers, Adventures in a Perambulator CON 1140 Gillis, Don (American) Frontier Town LL 176 Seasonal Music. ^- HALjcOWEEN ^Halloween (The Witch)— Tchaikovsky VE 73 tWitch-Marionettes— MacDowell VE 79 or MSB 60040 :The Witches are Calling NMH 2-2 :Elfin Dance— Grieg VE 78 JFairy Pipers "Wand of Youth Suites"— Elgar VE 78 JMarch of the Gnomes "Christmas Tree Suite"— Rebikoff VE 79 JGnomes — Reinhold tPairies f Scherzo)— Schubert VE 71 Witches Dances— MacDovv-ell VE 81 or MSB 60040 Scherzo ] "Midsummer Night's Dream" — Mendelssohn V WDM 1724 Nocturne ( or LM 1724 or MSB 78026 Dance Macabre— Saint-Saens C AAL 8 or LM 1118 or Cap H 8169 A Night on Bald Mountain— Moussorgsky V 49-0722 or Cap H 8169 Sorcerer's Apprentice — Dukas V LM 118 Till Eulenspiegl's Merry Pranks— Strauss C ML 4045 Thanksgiving Hymns of Thanksgiving (Robert Shaw Chorale) V 45 WDM 1559 or LM 108 :Over the River and Through the Woods NMH 2 iThe Turkey Game NMH 3 (See Indian Music, P. 77) Christmas Christmas Hymns and Carols (Shaw Chorale) Vol. 1 V DM 1077 WDM 1077 LM 1112 Christmas Album VE 88 Vol. II LM 1711 Nutcracker Suite— Tchaikovsky V WDM 1468 or MSB 78033-78035 :The Twelve Days of Christmas YPR 225 :Round the Christmas Tree NMH 1 tPriinar>' level. Listening 89 iLullay, Thou Tiny Little Child NMH 3 Christmas Carols Album 20 tMarch of the Little Lead Soldiers— Pierne VE 77 or MSB 78015 ^Dancing Doll— Poldini VE 78 or MSB 78016 Amahl and the Night Visitors— Menotti V 45 WDM 1701 Hansel and Gretel — Humperdinck VE 80 or VY 2007 Christmas Album VE 81 The Messiah — Handel He Shall Feed His Flock VE 86 Hallelujah Chorus V 49-0292 or 11825 And the Glory of the Lord V 11825 Ave Maria— Schubert VE 86 Jesu Joy of Man's Desiring — Bach V 49-3159 December "The Months"— Tchaikovsky C ML 1088 A Ceremony of Carols— Brittein V LM 1088 Easter JEaster NMH 2 The Moravian Easter Band HMC Treasury of Easter Songs (Shaw Chorale) V WDM 1623 LM 1201 The Messiah — Handel Hallelujah Chorus V 49-0292 or 11825 I Know That My Redeemer Liveth Since By Man Came Death Russian Easter Overture C ML 2035 Worship in Music. (See Seasonal Music above.) Crusaders Hymn NMH 6 Beautiful Savior VE 86 Favorite Hymns for Children VY 431 Great Sacred Choruses (Robert Shaw Chorale) VLM 1117 How Lovely Are Thy Messengers "St. Paul" — Mendelssohn VE 86 Great Songs of Faith V LCT 1111 The Lord's Prayer— Malotte V 49-0284 He Shall Feed His Flock VE 86 Marian Anderson Sings Spirituals V LM 110 Spirituals for String Choir and Orchestra— Gould C ML 2042 Sheep May Safely Graze — Bach ] y -^^ inQ Jesu Joy of Man's Desiring— Bach | Ave Maria — Schubert V LM 77 Invocation — Schubert NMH 6 Panis Angelicus — Franck V 49-1447 Hymns of Catholic Devotion VEPA 490 Likras Shabos (Hebrew) V LPM 3242 Sacred Service— Bloch LL 123 Children's Prayer "Hansel and Gretel" — Humperdinck VE 81 One God (Story of Three Great Faiths with Music) CRS Beethoven 9th Symphony (4th Movement) V LM 6009 tPrimary level. 90 Music in the Public Schools Music and Art. Music to Illustrate Art Masterpieces Picture From An Indian Lodge — MacDowell Solemn Pledge — Ofer (American) MSB 60040 or VE 89 Coming of the White Man Indian Album VE 89 Indian Roasting Corn Midsummer Night's D r e a m — Men- Fairy Tales — Shannon delssohn (German) V WDM 1724 or Spring Song — Corot (French) LM 1724 or MSB 7805-78028 The Spinner— Maes (Dutch) Spring Song — Mendelssohn (German) Song of the Lark VE 79 Dance of the Nymphs— Corot Spinning Song — Mendelssohn (Ger- Shoeing the Bay Mare — man) V LM 1153 or ERA 41 Landseer (English) Hark, Hark, the Lark — Schubert OSW 6 Dance of the Happy Spirits — Gluck V 49-3301 or MSB 78046 Anvil Chorus — Verdi (Italian) V 49-0298 Pictures at an Exhibition — Moussorg- sky VLRB; VLM 1838 Music for Fingerpainting or Free Drawing Snow Drops — Tchaikovsky VE 74 Humoresque — Tchaikovsky VE 74 The Swan "Carnival of the Animals" — Saint-Saens VLM 1761 or MSB 78012 Barcarolle "Tales of Hoffman"— Offenbach V 119222 or 49-0300 '^Narcissus — Nevin To a Water Lily— MacDowell MSB 60040 or VE 79 Golliwog's Cake Walk— Debussy VE 78 or MSB 78037 Nocturne— Mendelssohn VE 80 or MSB 78027 Serenade — Schubert V LM 77 Swan Lake— Tchaikovsky V LM 1134 Clair de Lune— Debussy VE 81 To Spring— Grieg CML 4334 or VE 82 Butterfly— Grieg CML 4334 A Night on Bald Mountain— Moussorgsky V 49-0722 or Cap H 8169 Hungarian Rhapsody No. 2— Liszt V 12-0763 (78) ; V 49-0308 (45) Mood in Music. Happy The Merry Farmer MC 15 Spring Song— Mendelssohn V LM 1171 or VE 79 Theme from Sonata in A — Mozart SS-1 Happy and Light of Heart "Bohemian Girl"— Balfe VE 72 Praeludium— Jarnefelt VE 72 Gavotte "Mignon"— Thomas VE 90 'No longer availabli' Listening 91 Amaryllis— Ghys VE 90 or MSB 78005 Caprice on Airs de Ballet "Alceste" — Gluck VE 80 Come Let Us to the Bagpipes Sound "Peasants' Cantata" — Bach VE 81 Humor in Music Plink, Plank, Plunk; Horse and Buggy; Fiddle-Faddle — Anderson DL 7519 Sleigh Ride; Waltzing Cat; Jazz Pizzicato; The Syncopated Clock — Anderson D L7509 Golliwog's Cake Walk— Debussy VE 78 or MSB 78037 Quiet and Restful Berceuse "Jocelyn" — Godard C GL 512 The Swan "Carnival of the Animals" — Saint-Saens MSB 78012 Hush My Babe — Rousseau VE 71 Morning "Peer Gynt Suite"— Grieg (Norwegian) V WDM 7002 or MSB 78031 At Dawn and the Calm "William Tell" — Rossini (Swiss-Italian) V UREP 39 or MSB 78047-78048 Nocturne "Midsummer Night's Dream" — Mendelssohn (German) E 80 or V WDM 1724 or MSB 78027 To a Wild Rose— MacDowell (American) MSB 60040 On Wings of Song — Mendelssohn (German) V LM-77 Theme "Sonata in A" — Mozart VE 80 Sunset "Grand Canyon Suite"— Grofe C ML 4059 Morning "Peer Gynt Suite"— Grieg V WDM 7002 or MSB 78031 Melancholy Pavanne of the Sleeping Beauty "Mother Goose Suite" — Ravel (French) VE 81 or MSB 78013 Songs My Mother Taught Me— Dvorak (Czech) LCT 1050 Mysterious Witches' Dance— MacDowell (American) VE 81 or MSB 60040 In the Hall of the Mountain King "Peer Gynt Suite" — Grieg (Norwegian) V WDM 7002 or MSB 78029 E>!trance of the Little Fauns— Pierne (French) VE 80 or MSB 78015 The Witch— Tchaikovsky VE 73 Gnomes — Reinhold VE 71 A Night on Bald Mountain— Moussorgsky V 49-0722 or Cap H 8169 March of the Dwarfs— Grieg (Norwegian) VE 79 or MSB 78032 Fast .The Wild Horseman — Schumann VE 79 :0f Brer Rabbit— MacDowell VE 79 or MSB 60040 t Primary level. 92 Music in the Public Schools Flight of the Bumble Bee— Rimsky-Korsakov V 17-0372 or LCT 1050 To a Humming Bird— MacDowell MSB 60040 :Soft and Loud ABC AS 20 Boisterous Polka "The Golden Age"— Shostakovitch (Russian) VE 82 Dance of Comedians— Smetana (Czech) V UREP 29 or MSB 78050 Slow ' To a Wild Rose— MacDowell MSB 60040 or C GL 512 The Cuckoo in the Woods "Carnival of the Animals" — Saint-Saens V LM 1761 or MSB 78011 The Swan "Carnival of the Animals" MSB 78012 or V LM 1761 Clumsy or Funny Golliwog's Cake Walk "Children's Corner Suite" — Debussy (French) VE 78 or MSB 78037 The Elephant and Fossils "Carnival of the Animals" — Saint-Saens (French) V LM 1761 or MSB 78010 and 78012 (For additional suggestions on mood, see p. 52, NMH Teachers Manual for Intermediate Grades.) Sad, Mournful Deer Dance (Rouge River Indian) "Suite Primeval" — Skilton VE 80 Ase's Death "Peer Gynt Suite"— Grieg V WDM 7002 Triumphant Procession of the Sardar "Caucasian Sketches" — Ippolitov-Ivanov (Russian) VE 76 Grand March "Aida"— Verdi (Italian) V 49-0616 or MSB 78048 Form in Music. Dance Forms 1. March a. Military Sousa Marches (Goldman's Band) Decca DL 5075 or Sousa Marches (Boston Pops) V WDM 1521 or LM 69 Sousa's Band V 20191, 20132, and 19871 b. Toy March March of the Toys "Babes in Toyland" DLP 7004 or CML 4430 March "Nutcracker Suite"— Tchaikovsky V WDM 1468 or MSB 78033 March of the Little Lead Soldiers — Pierne VE 77 or MSB 78015 tPrimary level. Listening 93 c. Professional Toreador Song "Carmen" — Bizet VE 74 March of the Three Kings— Bizet VE 74 March "Aida"— Verdi VE 74 or MSB 78048 Pomp and Circumstance — Elgar V 49-0616 Wedding March "Midsummer Night's Dream" — Mendelssohn V WDM 1724 or MSB 78028 2. Waltz Toyland "Babes in Toyland" D LP 7004 or C ML 4430 Belle of the Ball— Anderson D L7509 Waltz of the Flowers "Nutcracker Suite"— Tchaikovsky V WDM 1468 or MSB 78035 Blue Danube Waltz V 49-1076 or MSB 78021 Tales from the Vienna Woods— Strauss V 49-1076 Invitation to the Waltz— Weber C ML 2043 3. Minuet Minuet— Boccherini VE 80 Minuet "Don Giovanni"— Mozart VE 75 or MSB 78003 Minuet in F— Gluck VE 75 Reference: Directions for the dancing of the minuet may be found on p. 37, NMH Teachers Manual for Intermediate Grades. 4. Gavotte Gavotte in D Minor— Gretry VE 75 Gavotte "Les Petits Riens" — Mozart VE 75 Gavotte— Handel VE 74 References: See also p. 55, NMH Teachers Manual for Intermediate Grades. Recurring Theme Amaryllis— Ghys VE 90 or MSB 78005 Music Box— Liadov VE 81 or MSB 78029 Of a Tailor and a Bear— MacDowell VE 78 or MSB 600040 Country Gardens — Grainger VE 86 ABA Form and Variation '^'Narcissus — Nevin To a Wild Rose— MacDowell MSB 60040 To a Water Lily— MacDowell VE 79 or MSB 60040 Etude in G Flat Major (Butterfly)— Chopin VE 81 Scherzo — Beethoven VE 81 Reference: See p. 25, NMH 6. The Fugue Round and Round — Fun and Facts on the Fugue YPR 431 Fugue in G Minor (The Little Fugue)— Bach V LM 1176 The Cat's Fugue— Scarlatti NSB 78039 °No longer available. 94 Music in the Public Schools Rondo Rondino— Beethoven (Kreisler) C ML 4310 Eine Kleine Nachtmusik 4th Movement — Mozart V WDM 1451 or MSB 78004 Music Box— Liadov VE 81 or MSB 78016 ThEiME with Variations The Harmonious Blacksmith— Handel V L?4 1217 Andante "Surprise Symphony"— Haydn VE 80 or MSB 78042 Reference: "Keyboard Jr.", Vol. 11, No. 4. OVRTURFS William Tell Overture— Rossini V UREP 89 or MSB 78047-78048 Overture "Midsummer Ni.e:ht's Dream" — Mendelssohn V WDM 1724 or LM 1724 or MSB 78025-78026 1812 Overture— Tchaikovsky C ML 4049 Reference: Music and Romance, pp. 250-258. Large Forms in Music Sonata Sonata No. 12 in A Flat Major, Op. 26— Beethoven C ML 4334 Sonata in D— Scarlatti V LM 1217 Reference: Music and Romance, pp. 288-296. Concerto Concerto for Piano and Orchestra in A Minor, Op. 16 — Grieg V WDM 1343 or LM 1018 Concerto for Piano No. 1. in E Flat— Liszt V WDM 1144 or LM 1018 Sjiinphony Children's Symphony— McDonald C ML 2141 Heart of the Symphony V WDM 1410 or LM 1085 (Portions of symphonies of Beethoven, Schubert, Tchaikovsky, etc.) Reference: Mnsic and Romance, pp. 296-303. "Keyboard Jr.", Vol. 11, No. 4. Tone Poem Finlandia— Sibelius V 49-0698 or C AAL 9 Fihn : Finlandia — Artists Concert Series Til Eulenspiegel's Merry Pranks C ML 4045 Reference: Music and Romance, pp. 357-358. The Moldau— Smetana V WDM 1505 or VLM 1118 Reference: Mnsic a^id Romance, pp. 360-366. Preludes Praeludium— Jarnefelt VE 72 Raindrop Prelude— Chopin V WDM 1227 or LM 84 or MSB 78044 Prelude "Die Meistersinger" — Wagner C ML 4054 Reference: Music and Romance, pp. 140-148. "Keyboard Jr.", October 1953. Listening 95 Discrimination Between Program and Absolute Music. Absolute Music Fugue in G Minor (The Little Fugue) — Bach V LM 1176 Symphony No. 1 in C Minor (4th Movement) — Brahms VE 82 Largo "Xerxes" — Handel V 49-1007 or MSB 78001 Sheep May Safely Graze— Bach V 49-3159 or LM 1176 Symphony in D Minor (2nd Movement Abridged) — Franck Symphony No. 8 in B Minor (Unfinished) (1st Movement Abridged) — Schubert V WDM 1410 or LM 1085 L'Arlesienne Suite— Bizet V WDM 1002 or LM 1002 Eine Kleine Nachtmusik — Mozart V WDM 1451 or LM 1002 or MSB 78004 Program Music William Tell Overture— Rossini V UREP 39 or MSB 78047-78048 Reference: "A Brave Mountaineer", The Opera "William Tell — Khiscella Readers, Bk. 5 Nutcracker Suite— Tchaikovsky 45 RCA WDM 1468 or MSB 78033-78035 Reference: Prelude, p. 41; "Young Keyboard Jr.", Vol. 2, No. 3. Mother Goose Suite— Ravel ML 4355 or MSB 78013-78014 Peter and the Wolf— Prokofiev VLM 1761 Midsummer Night's Dream — Mendelssohn V WDM 1724 or ' ' MSB 78025-78028 Reference: Prelude, p. 61. The Flight of the Bumble Bee— Rimsky-Korsakov V 45 170372 in WCT 72 or 33 LCT 1950 or MSB 78050 (Russian) Peer Gynt Suite— Grieg 45 RCA WDM 7002 or MSB 78029-78031 Film: Peer Gynt — Artists Concert Series Deer Dance (Rogue River Indian) "Suite Primeval" — Skilton VE 80 Sleeping Beauty — Tchaikovsky V LM 1010 Overture 1812— Tchaikovsky C ML 4049 The Moldau— Smetana V WD 1505 or LM 1118 Danse Macabre— Saint-Saens C AAL 8 or LM 1118 or Cap H 8169 References: Oh Say Can You Hear p. 14; Progress, p. 12; Keyboard Jr.", Vol. 4, No. 1 The Sorcerer's Apprentice — Dukas V LM 1118 References: Oh Say Can You Hear, Bk. 2, p. 5. NMH Teacher's Manual for Intermediate Grades, p. 54. Scheherazade — Rimsky-Korsakov C ML 4089 Billy the Kid— Copland C ML 2167 Cowboy Rhapsody— Gould C ML 4218 .: " :'" 1 Pacific 231— Honegger MSB 7815 Reference : Concert Companion, pp. 347-358. 96 Music in the Public Schools Opera, Operetta, Oratorio and Ballet. Opera The Magic Flute — Mozart Excerpts: "Magic Flute" Ray 1203 Amahl and the Night Visitors— Menotti V 45 WDM 1701 LM 1701 References: Amahl and the Night Visitors — Menotti McGraw-Hill Amahl and the Night Visitors — "Keyboard Jr.", Vol. 10, No. 8 Hansel and Gretel — Humperdinck VE 80 or VY 2007 or WY 2007 Reference: Prelude, p. 55-60. Babes in Toyland— Victor Herbert D SP 7004 Reference: "Keyboard Jr.", Vol. 11, No. 3 Selections from Carmen — Bizet V ERA-45 Reference : "Keyboard Jr.", Vol. 4, No. 6 Aida— Verdi March VE 74 or V 49-0616 or MSB 78048 • Reference: Music and Romance pp. 258-266 Pinafore— Gilbert and Sullivan V EKB 1002 or LK 1002 Reference: H.M.S. Pinafore — Met. Opera Guild. Highlights from Porgy and Bess — Gershwin V LM 1124 The Red Mill— Victor Herbert V EKB 1016 The Student Prince— Romberg V WDM 1341 (Highlights) Oratorio The Messiah — Handel He Shall Feed His Flock VE 86 Hallelujah Chorus (Boston Pops) V 49-0292 Reference: "Keyboard Jr.", Vol. 10, No. 3 BAI.LET (Telling a Story in Music and Dance) Dance of the Hours— Ponchielli V 49-0676 or V LM 9005 Polka from the Golden Age Ballet— Shostakovitch VE 82 Rodeo— Copland V LM 32 Nutcracker Suite— Tchaikovsky V WDM 1468 or MSB 78033-78035 Coppelia Ballet— Delibes V LM 1032 Ballet Music "Faust"— Gounod CML 4136 Sleeping Beauty (Ballet Music)— Tchaikovsky CML 4136 Reference: Music and Romance, pp. 89-101. Vocal Music. Soprano: Knowest Thou the Land "Mignon" — Thomas VE 86 From the Land of the Skyblue Water— Cadman VE 84 In the Boat— Grieg VE 84 Barcarolle "Tales of Hoffman"— Offenbach V WDM 1703 Listening 97 Contralto: Old Folks at Home— Foster VE 84 Carry Me Back to Old Virginny — Bland; My Old Kentucky Home — Foster V WDM 1703 The Erlking— Schubert V LM 84 Tenor: Ave Maria— Schubert VE 86 Loch Lomond — Scotch VE 84 Celeste Aida "Aida"— Verdi V 49-0632 Oh Dry Those Tears— del Riego V WDM 1703 Baritone: Toreador's Song "Carmen" — Bizet VE 86 Tramp, Tramp, Tramp Along the Highway "Naughty Marietta" — Victor Herbert VE 86 Song of the Volga Boatman VE 84 Largo "Xerxes"— Handel V WDM 1703 Bass: None but the Lonely Heart— Tchaikovsky V WDM 1703 Choir or Chorus: He Shall Feed His Flock "Messiah"— Handel VE 86 Beautiful Savior VE 86 Bridal Chorus "Lohengrin" — Wagner V 49-0298 Anvil Chorus "II Travatore"— Verdi V 49-0298 Film: "A Garland of Song" — Sterling Instruments of the Orchestra. Pan the Piper (How a Reed Grew Into an Orchestra) C J 214 A Child's Introduction to the Orchestra S Sch GRC I Instruments of the Orchestra VE 104 Strings, Brass, Percussion, Woodwinds D DL Young People's Guide to the Orchestra — Britten C ML 4197 First Chair (Philadelphia Symphony) C ML 4629 Personification of Single Instruments of the Orchestra: The Wonderful Violin YPR 311 The Licorice Stick (The Clarinet) YPR 420 Pee Wee the Piccolo VY 344 Rondo for Bassoon & Orchestra YPR 1009 Little Boy With a Big Horn S Sch BR 3 The Hunter's Horn YPR 421 The King's Trumpet C RG 5040 Tubby the Tuba D CU 106 Further Adventures of Tubby the Tuba VY 36 Story of Celeste CO 2300 Bennie the Beaver (Percussion) C J 139 Said the Piano to the Harpsichord YPR 311 Sparky's Magic Piano Cap DC 78 The Eager Piano C JL 8002 Stories Using Instruments of the Orchestra: Little Brass Band YPR 703 M 3 The Neighbors Band YPR 109 98 Music in the Public Schools Little Fiddle D DU 11 The Golden Goose ORG 5002 Rusty in Orchestraville Cap D C 115 Sparky's Music Mix-Up CRS Peter and the Wolf— Prokofiev V LM 1761 Recordings to Illustrate the Instruments of the Orchestra. (See RCA Educational Record Catalogue.) Books and Stories About the Orchestra. Commins, Dorothy Berliner Making an Orchestra MacMillan 1937 Lacey, Marion Picture Book of Musical Insti'uments Lothrop 1942 Huntington, Harriet E. Tune Up Doubleday 1942 Posell, Elsa Z. This is an Orchestra Houghton 1950 . . _ La Prade, Ernest Alice in Orchestraville Doubleday McKinney, Laurence People of Note Dutton Guest, Elizabeth A. Betty and the Symphony Orchestra Presser Films of the Instruments of the Orchestra. Bureau of Visual Education, Swain Hall, University of North Carolina, Chapel Hill, N. C. "The Story of the Violin", National Film Board of Canada "Symphony Orchestra" EBF {Brass Choir, String Choir, Woodwind Choir, Percussion Choir.) Eastin Pictures, Chattanooga, Tennessee Violin (Carroll Glenn) 2492; Viola (Wm. Primrose) 2490; Cello (Emanuel Feuermann) 2252 Harp (Mildred Dilling) 2252; Orchestra — Britten's Young People's Guide to the Orchestra (London Symphony) 2442; Symphonette — Mischel Piastro and His Orchestra, 2497, 2498, 2499. International Film Bureau, 57 East Jackson Blvd., Chicago 4, 111. Fiddle-de-dee (Color film integrating art and music.) Music in the Wind (Construction of Organ.) National Film Board of Canada, 1270 Avenue of the Americas, New York 20, N. Y. Toronto Symphony. 1 — Jamaican Rumba. 2 — A Saint Malo. 3 — Coles Breugnon. The Story of the Violin Interlochen Films, 303 S. State Street, Ann Arbor, Michigan Youth Builds A Symphony C. G. Conn, Ltd., Elkhart, Indiana First Chair (Free loan) Almanac Films, Inc., 156 Fifth Avenue, New York 18, N. Y. The Harpsichord Finger painting is a good means of interpreting music. Teaching Aids. Artex Reproductions (Masterpieces of Art) Artext Prints, Inc., Westport, Conn. Charts of RCA Victor Instruments of the Orchestra. Meyer's Musical Exchange Co., 454 Michigan Ave., Detroit, Mich. Pictures of Instruments of the Orchestra and Present Day Musicians. "Keyboard Jr.", 134 Chapel St., New Haven 11, Conn. Portraits of Great Composers. Hall & McCreary Co., Chicago, 111. Monthy Magazines. "Keyboard Jr." & "Young Keyboard Jr.", 1346 Chapel St., New Haven 11, Conn. BIBLIOGRAPHY Series Avierican Singer — ABC (Books 1-8) A Singing School — Birchard (Books 1-8) Music Hour — Silver (1-5) New Music Horizons — Silver (Books 1-8) Our Singing World — Ginn (Kindergarten — 8) 100 Music in the Public Schools Together We Sing— FoUett Music for Young Listeners- — Silver The Green Book The Crimson Book The Blue Book Making Friends With Music- — -Ginn Prelude; At Home and Abroad Progress; New Horizons O Say Can You Hear — Mills Books 1, 2, and 3 Books About Music and Musicians Bagar & Biancolli. The Concert Co^njjanion. McGraw. Bakeless. Story Lives of Ame^^ican Composers. Lippincott. - — ■ — ■ — — Story Lives of Great Composers. Lippincott, 1940. Bauer & Peyser. How Music Greiv ; From Prehistoric Times to the Present Day. Putnam, 1939. Brower. Story Lives of Master Musicians. Lippincott, 1922. Buchanan. How Man Made Music. Wilcox & Follett, 1951. Burch. Famous Pianists for Young People. Dodd, 1943. Famous Violinists for Young People. 1946. Dodd. Modern Coynposers for Young People. Dodd, 1941. Burch & Wolcott. Famous Composers for Young People. Dodd, 1945. Cross. Music Stories f»r Boys and Girls. Ginn, 1926. Great Musicians as Children. Schirmer, Doubleday. Kinscella. History Sings; Background of American Music. Univ., 1948. Kinscella Readers, Books 1, 2, 3, 4, 5, 6. McGehee. People and Music. Allyn. Merry Adventure of Till Eulenspiegel. Yoseloff, Ackerman. Prokofiev. Peter and the Wolf. Knopf. Roberts. Young Masters of Music. Crowell, 1937. Scholes & Earhart. Complete Book of the Great Musicians. Oxford, 1931. Seabey & Home. Stories of Great Musicians. American. Skolsky. The Music Box. Dutton. Whitcomb. Young People: Story of Music. Dodd. Wolcott. A Child's Book of Famous Composers. Barnes. Books about Individual Composers Arnold. Finlandia — Story of Sibelius. Holt. Deucher. Edvard Grieg, Boy of the Northland. Dutton, 1946. Edward MacDowell and His Cabin in the Pines. Dutton, 1940. Frayiz Schubert and His Merry Friends. Dutton, 1939. Joseph Haydn, the Merry Little Peasant. Dutton, 1936. Mozart, the Wonder Boy. Dutton, 1941. Stephen Foster and His Little Dog Tray. Dutton, 1941. The Young Brahms. Dutton, 1949. Dugo. Mozart. Hyperion Press. Erskine. Song Without Words; the Story of Felix Mendelssohn. Messner, 1941. Listening 101 Ewen. Haydn; A Good Life. Holt, 1946. Story of George Gershwin. Holt, 1943. Tales from The Vienna Woods; the Story of Johann Strauss. Holt, 1944. Gillette. Paganini, Master of The Strings. Button, 1950. Goss. Beethoven, Master Musician. Holt, 1946. Deep Flowing Brook (Story of Bach). Holt, 1938. Unfinished Symphony ; the Story of Franz Schubert. Holt, 1941. Humphreys. On Wings of Song: the Story of Mendelssohn. Holt, 1944. Lewiton. John Philip Sousa, the March King. Didier, 1944. Mayo. Tchaikovsky. Hyperian Press. Purdy. Anto7iin Dvorak, Composer from Bohemia. Messner, 1950. He Heard A'inerica Sing; the Story of Stephen Foster. Messner, 1940. My Brother Was Mozart. Holt, 1937. Song of the North: the Story of Edward Grieg. Messner, 1941. Stormy Weather: the Story of Tchaikovsky. Messner, 1942. Tinyanova. Stradivari, the Violin Maker. Knopf, 1938. Wheeler. Frederic Chopin, Son of Poland (Early Years). Button, 1948. • Frederic Chopin, Son of Poland (Later Years). Button, 1949. Handel at the Court of Kings. Button, 1943. ■ • Ludwig Beethoven and the Chiming Bell Towers. Button, 1942. Robert Schumann and Mascot Tiiff. Button, 1947. ■ Sebastian Bach, the Boy from Thuringia. Button, 1937. Books About Opera Biancolli and Eager. Victor Book of the Opera. RCA. Bike. Stories from the Great Metropolitan Operas. Random, 1943. Kobbe. Complete Opera Book. Putnam, 1950. Lawrence. Carmen. Grossett. H. M. S. Pinafore. Grossett. Lohengrin. Grossett. Wagner's Ring of the Nibeluiigen. Silver, 1938. Lawson. Prize Song; Stories of Famous Operas. Oxford, 1935. Ling. The Magic Flute: Mozart. Holt. Mac Spadden. Stories from Great Operas. Opera Netos. Metropolitan Opera Guild. Sandys. Story of Peer Gynt. Crowell, 1941. Weber. Prize Song Stories of Favious Operas. Oxford. Wheeler. H. M. S. Pinafore. Button, 1946. CODE ABC — American Book Co., Cincinnati, Ohio BCR— Bantam Children's Record, Audio Visual, Inc., 103 E. 125th St. New York 35, N. Y. BR— Book Records, Inc., 680 Fifth Ave., New York 19, N. Y. Cap— Capitol Records, Inc., 1507 N. Vine St., Hollywood 28, N. Y. C — Columbia Records, Inc., 1473 Barnum Ave., Bridgeport 8, Conn. 102 Music in the Public Schools CHS— Continental CO— Coral Records, Inc., 48 W. 57th St., New York 19, N. Y. CON— Concert Hall Society, 45 Columbus Ave., New York 33, N. Y. CRG— Children's Record Guild CRS— Children's Reading Service, 1078 St. John's Place, Brooklyn 13, N. Y. D— Decca Records, Inc., 50 W. 57th St., New York 19, N. Y. EB — Encyclopedia Britannica Films, Red Springs, N. C. EF — Ethnic Folkways — Folkways Records and Service Corp., 117 W. 46th St., New York 36, N. Y. ER — Enrichment Records, 246 Fifth Ave., New York ERS— Educational Record Sales, 146 Readest, New York 13, N. Y. ES— Esoteric Records, 238 E. 26th St., New York 10, N. Y. F — Follett, Chicago, Illinois FM— Freda Miller, 8 Tudor City Place, New York 17, N. Y. . HMC — Home Moravian Church, Winston-Salem, N. C. LL— London Records, Inc., 539 W. 25th St., New York 1, N. Y. MC— Mercury Child Craft MG — Mercury Record Corp., 35 East Wacker Drive, Chicago 1, Illinois MGM— MGM Records, 701 Seventh Ave., New York 36, N. Y. MSB— Musical Sound Books, Inc., P. O. Box 44, Scarsdale, N. Y. MM— Mills Music, Inc., 1619 Broadway, New York 19, N. Y. NMH- — New Music Horizons, Silver Burdett Co. (Columbia Recordings) OSW— Our Singing World, Ginn & Co., New York P— Period Music Co., 884 Tenth Ave., New York 10, N. Y. PJ — Phoebe James, Box 134, Pacific Palisades, California RE — Ruth Evans, Joseph V. Burns, 573 Conn. Ave., Bridgeport 7, Conn. RR — Rainbow Rhythms, Emory University, Emory, Georgia SD— Sally T. Dietrich, 134 Sherman Ave., Rockville Centre, N. Y. SDA — Square Dance Associates, Freeport, N. Y. SF— Scott Foresman, Atlanta, Georgia SSA — Singing School, Birchard & Co., Boston, Mass. S Sch— Simon Schuster, New York, N. Y. TWS— Together We Sing, Follett Co., Chicago, 111. UR— Urania Records, Inc., 40 E. 19th St., New York 3, N. Y. V— Victor, RCA, Camden, N. J. VE — Victor Educational Records (RCA) Camden, N. J. Vox— Vox Productions, Inc., 236 W. 55th St., New York 19, N. Y. YPR — Young Peoples Records, The Greystone Press, 100 Sixth Ave., New York 13, N. Y. In summarizing their trip around the world, this fourth grade finger paints to the rhythm of "Peer Gynt Suite." MUSIC IN THE INTEGRATED PROGRAM Integration is measured by the depth of insights gained by the individual student, by the ability to think objectively, and by the extent the conclusions can be applied to present day living. History reveals music as integrated with daily living of the people. Music thus interpreted can enrich the learning ex- periences, provide a vital key to the cultures of the world, broaden the horizon of world understanding, stimulate thinking, and present group conclusions and actions. It is the purpose of this chapter to show how music can be integrated with regular classroom activities, resulting in music as a part of the general education program. LETTERS EXPLAINING DEVELOPMENT OF A UNIT Probably the best approach to an understanding of an inte- grated classroom program and the functions of the music and 104 Music in the Public Schools art specialists, general supervisor and classroom teacher, is to examine letters written by a general supervisor, music teacher, and classroom teacher explaining the development of a unit in social studies with sixth grade children. A GENERAL SUPERVISOR EXPLAINS THE PROJECT State Music Consultants State Department of Public Instruction ' Raleigh, North Carolina ;■ Dear Colleag'ues: The Greek study actually began with nature study and the accom- panying myths in the fall. When the group got to the unit on Greece in their history text, Builders of the Old World, they were already in love with the ancient Greek story tellers. The group was engaged in a great many interesting activities growing out of this study which took approxi- mately a month. During this time they wrote plays, poetry, and stories; painted; carved; danced; sang; played; hammered; made pottery; and probably did many of the same things sixth graders everywhere do. The culminating activity v/as a play, written, played, and directed by the group. The story of "The Golden Apple" had been selected for the theme of the play. The class decided what scenes it wished to play and outlined them. They then sub-divided into committees. Three committees wrote the play, one planned and made the scenery. One boy made benches to look like marble. When the play was completed, a day was set for try-outs for the parts. Every child in the grade had a part somewhere in the play. In its research one group found that every Greek boy was required to know how to sing, dance, and play a musical instrument before he was allowed to go into battle. It was decided that the boys would sing "The Wedding Day", a poem written by one of the girls and set to music by the class. One of the girls played the accompaniment on the autoharp. At one point in the play the earth folk went before the gods to show them how well the Greeks had obeyed the gods. They danced, sang, played the harp, threw the discus, and did the broad jump. They presented their shields, spears, and musical instruments (made by members of the class for approval) . Costumes were designed, dyed, and made by the class. One of the girls wrote the song and dictated the following description of the dance: "Wearing our rainbow robes, the girls in our room came on the stage in front of King Zeus' and Queen Hara's thrones in one long straight line doing the waltz-rock step eight times. We then formed two circles and with our hands held high and gracefully swaying from side to side we did the waltz-walk eight times. The two circles then followed the leader into a big circle, waltz-walking three times, whirling on the fourth. We repeated this four times. Music in the Integrated Program 105 "Then three girls danced to the center, the middle girl waltz-rocking while the other two whirled away from her and back to her about four times, ending with graceful arm movements reaching to the sky. While the three were doing this, the remainder of the dancers were in a big semi-circle on their knees, arms uplifted, swaying from side to side. The dance ended with all making the same prayer-like movements as those of the three girls in the center." One boy composed the music for the autoharp. The song, music, and dance were the children's own composition. The music and art consultants were very great helps to both teacher and children throughout the study. To me this was a wonderful example of how to make use of con- sultants where and when they are needed. The flexible schedules made it possible for the classroom teacher to have effective help when she needed it from both the art and music teachers. Very sincerely, (Supervisor) Oxford City Schools A CLASSROOM TEACHER RELATES HER EXPERIENCES WITH GREEK UNIT State Music Consultants State Department of Public Instruction Raleigh, North Carolina Dear Colleagues : I am glad to have the opportunity to explain how our general supervisor and the music and art consultants worked with me to enrich our class activities. As our plans for the unit progressed we found that all three of these people were interested and excited about what we were doing. They were anxious to help us in planning and in doing difficult things. They aided the classroom teacher and pupil groups in such things as dyeing and making the rainbow costume for Hara, locating resource materials and people, setting the poem to music, creating a dance for the gods, and painting scenery which depicted the Athenian countryside. The program was enriched by many contributions in the areas of art, music, science, and travel. Many times the children were able to do for themselves such things as making Pan's pipes, Apollo's harp and sheet, shields for the soldiers, and arrangements for the stage. The general supervisor helped with the overall planning, the building up of ideas, and committee work. She brought in many interesting myths and stories to the group. It is hard to separate the work of the classroom teacher and these three people, for all of us were working together. I recall times when all three of these helpers were with us — the art teacher, working with the committee on the backdrop and stage effects; the music teacher, with the songs and dance groups; and the general super- visor and I, with the play group. 106 Music in the Public Schools As I think back over this study, I realize that many fine things came out of it. There was no one hero or heroine. Every child had a feeling of accomplishment and M^orth, Avhether he was a singer, a strummer on the autoharp, a stage hand, or King Zeus himself. Two of my greatest satisfactions were: (1) to feel that a child had become more cooperative because of his participation in his group, and (2) to experience the fact that people can be alert to the needs of a group and make adjustments to meet these needs. This integrated program greatly enriched our work. It took care of every child — gifted, energetic, average, and slow. To be able to call in a highly trained helper when and where she was needed kept interest at a high point. Our planning was such that it seems to me that we got help in every area when we really needed it. Yet, I don't think we got more than our share of any person's time. We all felt that having an understanding principal who opened wide the doors to activities good for our school proved a blessing to our program. Very sincerely, (Classroom Teacher) Oxford City Schools THE MUSIC SPECIALIST REVIEWS HER PART IN THE PROJECT . . . The song and dance used in their unit were completely original. We talked about the Greek modes and compared them with our scales of today. They first wrote the poem; then they composed the tune which ended in a minor key which sounded more like the modes to the children. The boys sang this in their program, because they learned that all Greek boys learned to sing as well as being good athletes. The girls composed their dance, while the boys looked on and offered suggestions. We used the % waltz with an autoharp accompaniment, because the autoharp sounded most like a lyre. They worked out a series of floor patterns for the dance, but the % meter was used throughout. They learned much about phrasing and meter in doing this dance, as well as an understanding of dance composition. They made their own musical instruments — the lyre, syrinx or Pan's pipe, Aulus, and double Aulus. We used books from the high school library for pictures of the instruments, costumes, etc., as well as for general information. Sincerely, (Music Specialist) Oxford City Schools Music in the Integrated Program 107 A CLASSROOM TEACHER DEVELOPS MUSIC AS AN INTEGRATED EXPERIENCE The teacher who Miss X is a teacher who feels that music is an im- feels that music portant part of her daily classroom activities. She is important knows that it will be a deep experience for her children only if she surrounds them with it constantly, making it related to the other things they are learning and doing. Miss X feels strongly about this because she remembers her own disconnected ex- posures to music which later she has tried to integrate by reading and further study. Miss X is not Miss X is not a trained musician, but her love of a trained musician music has given her the incentive to sing in a local community chorus and she has a small personal col- lection of records. Occasionally Miss X buys books about music and musi- cians which she keeps on her desk for reference. She often listens to radio programs, and she enjoys reading articles and reviews about music in magazines and in the local papers. When she goes to a concert, she always brings her own interest and enthusiasm to the children by telling them about it and by showing them the program. Her bulletin board is full of pictures and clippings about music. By her constant attention to it, the children know that Miss X loves music. A plan for In Miss X's mind there is a plan for a music unit. Her music study plan is not worked out in detail, but she knows that it will include many experiences, such as singing, playing in- struments, listening, body movement, finger painting, story telling, making original songs, and other creative work. Perhaps there will be opportunities for dramatizations, related to the music, field trips, library research, edu- Recorded music, rhythm band instrumentation, costumes, and dance help these students to understand the people of Mexico. ^ 108 Music in the Public Schools cational films, and visits to her classroom by local musicians. She hopes by relating these experiences to other learnings that the children will become aware of the interdependence and deeper cultural connections between music, the social studies, science, art and literature. Culmination of If her plan works. Miss X feels that her children will the plan be sufficiently stimulated imaginatively to draw to- gether their experiences into a program which they will shai-e with other grades. In working this out, Miss X will of course act as a guide, consultant and advisor, but she will wisely let children's ideas take precedence over her own. She will be flexible enough to follow their leads, and her satisfaction will come from assurance that each child in her room is developing a love of music and an understanding of its significance, not only in their own cultural pattern but in a historical framework. The starting point In the Beginning Miss X realizes that she must have a good starting point. For this she draws on her own experience rather than upon any outline or plan made by someone else. In the community chorus she has enjoyed singing some of Mozart's music. Be- cause of this she has added to her record collection a symphony of Mozart, the G Minor, which she has played many times. Why not start with this? No, Miss X reflects, this might be too long and too complicated for her pupils to take in. Yet she loves the clear style of Mozart and feels that it would not only appeal to children but that time spent on such a great composer would be a fine experience for her as well as for the pupils. Like many people, Miss X puts more into her teaching when she is working on some- thing that she herself enjoys. Gathering resources Having decided on the study of Mozart and his music. Miss X now gathers her materials. hi the school library she finds: Mozart The Wonder Boy by Opal Wheeler and Sybil Deucher (Button, 1934). Young Masters of Music by Mary Newlin Roberts — Chapter 7 (Crowell, 1931). Kinscella Readers. Files of Keyboard Jiinior and Young Keyboard, Jr. Classroom Visual Teaching Unit Filmstrip — Wolfgang Amadeus Mozart No. X14b. Pictures of Mozart in the picture file. Recordings: Mozart — Coimtry Dances 77, Y P R 313-314 Everybody Dances Y P R 317 At the local music store she finds: The Story and Music of Mozart — Columbia J-166. Miniature Classics — Mozart and Haydn (Piano Score) (Oliver Ditson) Theodore Presser Co. In the visual aids roorn she fiyids: University of North Carolina Extension Division catalogues of Educational Films which lists films on music. An address for further research in available films, filmstrips, and slides. Other pamphlets and catalogues describing available rental materials. Music in the Integrated Program 109 Miss X knows that this is not enough material for the entire unit, but she feels it is more than adequate as a starter. She will supplement the presently available resources with: • Her own files of clippings, pictures, recordings. • Materials brought in by the children and their parents. Where will she begin? Miss X reflects that listening to the music should come first. In her own experience this has been true. First she heard music, then she became interested in it, then she wanted to know more about it and about the composer. Begin with music The beginning, then, will be with the music itself. Miss X plays the two Country Dance records which she has borrowed from the library. Wisely, she makes no point of the music, but plays it over and over again as her children are resting. She wants them to become thoroughly familiar with it, and to absorb it through repeated hearings. The next step Miss X at this point does not know exactly what will happen. She waits. Then one day a child remarks: "Miss X, that loud part sounds like drums. Could we play drums with the records?" This is the cue she has been waiting for. Promptly Miss X sees that drums are available. She may borrow, buy or make them. She will doubtless add other instruments when experimentation with drums in "that loud part" gives the children the idea that softer instruments are triangles and bells; or that tambourines may sound well in the "soft parts". Soon the structural form of the music is established. It is clear that contrast is one of the basic elements of music. With this idea of contrast. Miss X now continues to let children experiment, using different instruments to express the different sections of the music. Out of experimentation will come the writing of a score. Further to make the structural elements become a part of the child's learning, Miss X will let her children dance the music, using the body as a means of expressing the "loud-soft" or "fast-slow". Following this kinesthetic realization there will be the possibility of translating the experience into a visual form. The children may suggest finger painting or easel painting. But if they don't. Miss X is not at all bothered because sooner or later during the study there will be an awakening of expression in this and other art media. She has started ci'eative ideas flowing; more will follow. Future developments As Miss X thinks of the future growth of her Mozart project, here are some of the experiences she would like for her children: 1. She will let her children search for songs by Mozart in their music books. She will appoint a committee to find other sources of Mozart songs from their homes, from the library, and from supplementary music readers. The children will select the ones they want to learn; and when works have become a part of them, they will share this learning with other grades. 110 Music in the Public Schools 2. She will encourage children to bring in records, books, pictures, so that her own original display may be retired. 3. She will constantly use music in relation to her unit of work, and make every possible allusion to the customs, cultural patterns, musical instru- ments, etc., of the period. She will relate to Mozai't other great figures and happenings of historical significance to our country during his lifetime (latter half of the eighteenth century). 4. She will read to her children a full biography, such as the Wheeler and Deucher Mozart the Wonder Boy. This reading will last over a long period of time, being apportioned in small amounts. This will give the class many opportunities to discuss Mozart. 5. She will enlist the help of another teacher or a piano teacher to play the piano scores of Mozart's music which are too difficult for the children to play. (See Miniature Classics.) 6. As new music is heard she will let her children suggest what they could "do" to it. Play instruments? Make up a dance? Free move- ment finger paint? 7. She will hope, after a reasonable amount of conditioning to the Mozart music in simple, short forms, that the children will be ready to enjoy her own album, "The G Minor Symphony". When this happens, she will explain the entire symphony. It may be compared to a four-room house. It has four movements or parts, just as the house has four rooms. Each is different — living room, dining room, bedroom, kitchen. They illustrate the principle of contrast, just as the Country Dance did. First movement — May have slow introduction and then a fast section Second movement — Usually slow Third movement — Minuet or dance type Fourth movement — Fast She will play parts of all four movements to give the continuity of the whole. Then she will take one movement, possibly the third, for more detailed learning. Here again, the children will want to make use of any media of expression that the music suggests. Perhaps it will suggest only quiet listening; perhaps dancing, painting, or working with clay or writing imaginative stories or telling feelings. 8. If a study of the symphony starts an interest in instruments, there will be opportunity to make an orchestra of pipe cleaners, to mold instruments of clay, to paint or to draw instruments, to see films on orchestra, string quartet, harpsichord, organ, etc. THE STORY OF THE "VIOLIN (National Film Board of Canada) is appealing to young children. TANGLEWOOD, made by the Boston Symphony in the Berkshires, is well suited to the older students. Many recordings of individual instruments will further deepen the study. 9. She will not forget to use "live" talent and to take every opportunity to invite musicians to come into the school and play for her children. Music in the Integrated Program 111 Conclusion All the while Miss X is enriching her classroom activities with music, she cannot be sure just exactly what will happen as a result. Her children may give a musical program of Mozart songs and in- strumental numbers ; they may write and produce a puppet play with Mozart music; they may work out an original dramatization of the life of Mozart; or they may just absoi'b the rich background with no immediate expression. What she likes to hope is that each child in her room will have a fuller understanding and a better appreciation of music which will grow in meaning as the child grows in years. And, she hopes that there will be a stimulus to individual study of some instrument, or to acquire a fine record library, or to sing in a choir, or just to use music as an emotional outlet when later in life they meet the inevitable problems that come with growing up. TEACHER RESOURCE INFORMATION MUSIC IN THE UNITED STATES It used to be said that the United States, having become a great melting-pot of the world's peoples, had no folk music which was truly its own. This is not true today. Much of America's folk music has a quality and flavor which are truly and uniquely American. To be sure, upon making a study of this music, one can discover influences of the foreign groups who have come to this country; but upon hearing it, it is felt that the life and emotions expressed are of those who have made this country their home in spirit as well as in fact. America's history, to a surprising degree, can be read in the folk songs of her people. Such facts as how they lived, what they ate, whom they met, what they believed, and what they did are known to us today. The study of this literature becomes a fascinating sidelight on the history of this nation. Also, it must not be forgotten that other music endeavor lies outside the field of folk literature and includes the work of our composers, artists, and performers. From the days of Francis Hopkinson to the present, our country has produced an im- pressive succession of outstanding men and women who have brought honor and fame to themselves and to the nation. The scope of our heritage of music may be indicated by dividing our history into periods, giving a few dates, names, and titles, and by suggesting briefly the nature of the music indigenous to the time. Indian music is summarized in a separate section. 112 Music in the Public Schools I. Colonial Period and Early Days. A. In Virginia (from 1607) Life in colonial Virginia was essentially gay. A gracious- ness of living characterized the life on the plantations, music being a real part of that living. Harpsichords and the string instruments of the day accompanied the dancing of their favorite minuet and Virginia Reel. Like many of the material things of life, their music was brought from England. Often new words were set to melodies from the home country, such songs as "The Little Mohee" (NMH 5). The words of this song related a common theme of southern colonial days. A collection of *'Songs of the Colonies", Historical America In Song, by Burl Ives, includes many songs of that day. In 1619, the first of the Negro slaves arrived from Africa and a new type of song developed. It was the spiritual. Nowhere in all the world is there music like this. The African combined the rhvthms of his native Dancing the minuet in authentic costume and with appropriate music helps to make the eighteenth century history of our country more meaningful to the students. li- rt- ' n ., J s (^ J V,v Music in the Integrated Program 113 people with the white man's melody (and religion) ; and by it gave expression to his deep and abiding faith in God, despite the sorrows and oppression which he had to endure. There is much syncopation in his rhythms. There is much repetition in his melodies but through it all runs a beauty and sincerity of expression which has made his music a favorite among peoples both here and abroad. Such spirituals as "Steal Away" (NMH 5) and "Go, Tell It On The Mountains" (NMH 6) are beauti- ful examples of his work. B. In New England (from 1620) In New England, the settlers came for a different reason — to obtain religious freedom — so music to them was a means of spiritual expression. Popular music was looked upon with great disfavor and even instruments in the church were not permitted. The Psalms were their favorite type of hymn and many of these tunes were ones they brought from England. Such a one was "Dun- dee" (NMH 5). In 1640, the first book set in type in the United States was printed. It was the Bay Psalm Book, in which only the words were given. One of the first native composers, William Billings, was born in this part of the country. His best-known song was "Chester" (NMH 5). This song was later to become a great favorite all along the coast. C. Music of George Washington's Time In the days following the close of the Revolutionary War, the new^ joy of freedom was expressed in a re- surgence of music, both patriotic and popular. Francis Hopkinson, a close friend of George Washington, became the first native-born American composer. His son, Joseph, wrote the words to "Hail, Columbia", one of our early patriotic songs. The popular dance of this period was the minuet. A collection of "Songs of the Revolution", Historical America In Song, by Burl Ives, is a fine repre- sentation of this period. 114 Music in the Public Schools D. The People of the Southern Mountains As new settlers came to the coast, earlier ones went back into the hills or mountains of North Carolina, Tennessee, and Kentucky. Most of them were of English extraction and with them they brought the songs of the old country. Many of the songs they sang are still pre- served in the original versions. Their favorite type of song was the ballad and by means of this literature we learn much of the nature of their existence. The old pentatonic scale was commonly used and the words often expressed quaint English phraseology. The tunes were usually simple and beautiful. Singing, dancing, playing simple instruments, such as the "fiddles", banjos, and dulcimers, and joining in play-party games were the forms of recreation among the mountaineers. "Down In The Valley" (NMH 6), "Sourwood Mountain" (NMH 5), and many others are a joy to sing. 11. Pioneer Days A. Origin of Our Work Songs During the 1800's, settlers began pushing west in search for more space and the riches about which they had heard. In the north, they went by way of the waterways, such as the Erie Canal and the Great Lakes. In the central part of the country, they went along the great rivers like the Ohio ; and in the south, they pushed through the mountains. Songs relative to this period are "Erie Canal" (NMH 5) and "Red Iron Ore" (NMH 5). As these pioneers proceeded west, they found a fab- ulously extensive and rich land which gave rise to many different means of livelihood : 1. The vast prairies of grass brought about the raising of cattle and thus came along the cowboy songs, such as "Doney Gal" (NMH 5) and others. 2. The discovery of gold in California in 1849 was the impetus for hundreds of fortune-seekers to make their way by covered wagon and many are the songs relating the hardships endured on the trail. Sometimes, these Music in the Integrated Program 115 gold-seekers went clear around Cape Horn and they sang such songs as "Sacramento", Singing America. The songs of this group are known as sea chanties. 3. In the Northwest Territory, around the Great Lakes, magnifxcent forests gave rise to the huge lumber industry and such songs as "Once More A-Lumbering Go" (NMH 5), Many such lumberjack songs exist which tell much about the conditions under which these men worked. 4. Even the coal miners had their work songs. One such song is "Down in a Coal Mine", "A Singing School, Vol. 7, written in the late 1800's for a state show. B. French and Spanish influence in Southern U. S. A. The French-American songs of Louisiana, better known as the Creole songs, should not be forgotten. "The Bayou Song" (NMH 4) is one of them. Farther to the west, in Texas, New Mexico, and Oklahoma, are to be found signs of the Spanish conquerors who came up through Mexico. One of the most exquisite of all of these songs is "At the Gates of Heaven", Singing America. No song was ever lovelier than this one. C. The great composers of this period — Stephen Foster. Born in Pittsburg in 1826, Foster visited in Kentucky, near Bardstown, and caught the true spirit of the south. Everyone knows about his songs and loves them. They have become true folk songs. Such songs as "Old Ken- tucky Home" (NMH 6) and "0 Susanna" (NMH 4) are favorites with all people everywhere. D. The favorite instruments of the pioneers were those that could be easily transported. The guitar, mandolin, fiddle and dulcimer were the chief of these. III. The War Betweeyi the States During the Civil War, as in the case of most conflicts, many songs were written. Some of these, such as "Tenting Tonight on the Old Camp Ground" (NMH 5) attained much fame. The best-loved of all the songs of this period is "The Battle Hymn of the Republic", the words of which 116 Music in the Public Schools were set by Mrs. Julia Ward Howe to the already well- known tune "John Brown's Body". The latter commem- orated John Brown's raid on Harper's Ferry. There are many other songs of this period, the names of which are easy to obtain. Most every community song- book contains a number of them. A collection of songs of North and South, sung by Burl Ives, includes songs of the Civil War. Two popular instruments of this day were the reed organ and the melodeon. IV. The Gay Nineties A. After the Reconstruction Days As the effect of the deprivations of the war began to wear off, a decade known as the "Gay Nineties" came into being. As if to throw off the drab and sorry effects of the conflict, life took on an elaborate and lavish appear- ance. There was a gay social life, a whirl of amusements, much dressing up in fancy clothes and much going to the theater which in that day was primarily vaudeville. We have only to look at the ornate furnishings of the homes of the period to know to what extent this gaiety went. One of the most typical songs of the day was "Listen to the Mockingbird", NMH 6. A singer was supposed to perform this with all the trills and tremolos he could conjure up. B. A Composer of this Period. It was during this period in New England that one of our most famous native composers, Edward MacDowell, was quietly writing in his little cabin on a wooded hillside at his summer home in Peterborough, New Hampshire. A native New Yorker, he is still considered to be our earliest outstanding composer. Who hasn't heard "To a Water Lily" and "To a Wild Rose"? He wrote many com- positions for orchestra, voice, chorus and piano. Another well-known composer of the late 1800's was Ethelbert Nevin (1862-1901) who charmingly set to Music in the Integrated Program 117 music Robert Louis Stevenson's poem, "The Swing" (NMH 4). "The Rosary" was by far his best known work. V. The Modern Period Twentieth century music, despite two world wars, has had a most phenomenal development, especially in the schools, churches, and the community. There are now an impressive number of composers and performers. With the help of television and radio, their names are fast becoming household words. It must be remembered, however, that most of them have not written music which can be grasped easily by children with little musical back- ground. A few of them are represented in the State-adopted books, such as Geoffrey O'Hara (NMH 4), W. Otto Miessner (NMH 4), Marshall Bartholomew, (NMH 2), Hoagy Carmichael (NMH 2), Milhaud ("The Rain" and "Not So Big", (NMH 4), Hindemith ("Romance", NMH 5). In an effort to understand other nationalities, these students take a musical trip to Holland. 118 Music in the Public Schools MUSIC OF THE AMERICAN INDIAN Music in the Music was an indispensable source of American Indian's expression in the life of the American life Indian. Practically everything he did was accompanied by music. The Indian wished to obtain results with his music. He used it for success in war and in the hunt. He believed music would heal the sick. He worked to rhythmic song. Children played to rhythmic chants. Indian music included game songs, song of the buffalo hunt, love son^s, songs of the war-path, corn grinding songs, religious songs, and songs of the medicine man, etc. Music was integrated with the living of the American Indian. Most of the Indian music was in the form of songs. These were usually short. Little sense of time or note values existed in this music. The words of the song usually had little meaning. Nonsense syllables were used in the place of words, for after all the emotion expressed in the song was the all-important purpose of the Indian music. The Indians today say that the white man uses too many words in his songs. Melody: Like the music of most primitive people, the melody of the songs of the American Indian proceeds downward. It is often chant-like, with intervals frequently smaller than a half- step. Many of their songs are in minor. Others are in the pentatonic scale. Harmony: None used intentionally. Rhythm: Very little sense of rhythm is felt in the songs, but they are accompanied by strong rhythms in the instruments and the dances. Often the rhythm of the songs and that of the accompanying instruments are different, giving rise to cross rhythms which the white man finds almost impossible to imitate. Voice quality: Their songs are sung in a decidedly nasal voice with mouth nearly closed and with a rather tight jaw. Instruments: Mostly drums, rattles, and flutes. Drums are by far the most important. Authentic music recorded: Music of the Sioux and the Navajo and Flathead Indian music may be found in Ethnic Folkways Records and Victor Library 20043, 21972, 22174; also YPR and CRG records. Music in the Integrated Program 119 Authentic songs: Indian Lullaby (NMH, Bk. 3) ; Okum Daagya, Aotzi, No-otz, Ceremonial Dance (NMH, Bk. 4) ; Mooje Moc- casin (NMH, Bk. 5) ; Cheyenne Lullaby, Zuni Greeting Song, Mooje Moccasin, Gibway Song, Song of Greety (MAS). Other melody sources. Songs and Stories of the American Indian by Gale and Krones, Neil A. Kjos, Chicago 6, Illinois. Music based on Indian themes: Edward MacDowell's "Indian Suite"; Charles Wakefield Cadman, "An Indian Love Song"; Charles Sanford Skelton, "War Dance of the Cheyennes" ; and "Suite Primeval" (MYL) The Crimson Book. THE MUSIC OF MEXICO Ethnologists supposed that the first people who settled in Mexico belonged to the same stock as the American Indian and that they crossed over from Asia by way of the Bering Strait in the dawn of human history. The first inhabitants were truly primitive. They lived largely by hunting, fishing and eating the wild fruits of the land. These primitive people, as in all lands, developed a measure of organized religion, having many gods and goddesses. Great festivals to honor these deities came into being, at which there were dancing, feasting, singing, and sacrificing. These festivals no doubt were among the early uses of music among these people. It is believed, however, that only the priests and ritualis- tic performers actually sang or played instruments. Scale: The pentatonic (five tone scale) was used. A song started and ended anywhere within the tonality. Melody: It is not known what the melodies were like, as nota- tion did not exist until modern times. A few instruments that have been found indicate their singing was largely on two or three notes ; therefore, chant-like. Singing was one of the chief means of expression. Rhythm: Like most primitive peoples, Mexican rhythm was highly irregular and complex. Cross rhythms were used. The native dance is Jarahe, best known as the Mexican Hat Dance. The dance is done on the brim of a sombrero. Instruments : Mexican musical instruments were limited in kind, being apparently altogether percussion and wind. Many of them were most elaborately carved. 120 Music in the Public Schools Drums : Two distinct types of drums existed. One type was fashioned out of a log which had been hollowed out so that a thin piece or tongue of wood projected from both ends. These were struck with a rubber-tipped stick. The result was a deep sound which could be heard several miles. The other type of drum was upright, standing on three legs and having a "head" of deer or snake skin. Flutes : Four and five-fingered flutes made of clay pottery or bamboo existed. Whistles and Trumpets: Whistles were made of crude pot- tery and trumpets were made of sawed-off conch shells, the deep sound of which carried a long distance. Rattles : Rattles made of clay or gourds were popular. These were filled with small pebbles or dried seeds. Today, a similar instrument is called a maraca. Novelty Instruments : Novelty instruments existed, such as small univalve shells on a string. These were worn around the legs and arms of a dancer, making a pleasant, rattling sound. Small clapperless bells of copper and gold also were worn in the same manner. Stringed Instruments: Stringed instruments did not exist among these early people, but modern Indians in Mexico have taken to the marimba, an African importation. It is almost the national instrument today. In the first half of the sixteenth century, a period of con- quest began, and from then on music followed two different paths in its development. First, there was the indigenous music which continued more or less isolated over a considerable period of time, yet came to have a surprisingly vital influence on the music of the conquerors. Secondly, the music which came in with people from the western European countries rapidly estab- lished itself. As with all civilized peoples everywhere, this latter music of the newcomers developed in two ways, as folk music and as composed music. Through the centuries these two have tended to come closer together and to reflect the influence of the native, natural music of the land, until today there is a specifically Mexican music with a character all its own. Music in the Integrated Program 121 Mention should be made of the mestizo music which is that of the Spanish and Indian races. It was with the coming of the conquerors that the natives were first introduced to string music. It is known how very important this music has come to be in the hfe of the nation. One interesting form of this string music is the guitar fashioned from an armadillo shell. Of course, there are many other forms of stringed instruments — wooden guitars, violins and viols. The first music school in Mexico, established in Texcoco in the year 1523, had much to do with the fusing of the Spanish and native arts. The music of the Mexican-born Spaniard is known as Creole music. It is essentially Spanish in character. What about their singing? Before the conquest, it was mostly the priests and professional singers who sang; but after the coming of the Spaniards, everyone was taught to sing. Today, Mexico might well be called a singing nation. In recent times, native orchestras, usually small, have sprung up everywhere, and by their simple music, have become an integral part of what we know as real ("tipica") Mexican music. The capitol, Mexico City, is one of the finest centers of music life on the continent. With a splendid conservatory of music, a fine symphony orchestra, and one of the world's truly gifted composers, Carlos Chavez (b. 1899), not to mention a prominent group of younger composers, it can proudly proclaim its high place in the world's music today. Authentic recording : Spanish and Mexican Folk Music of New Mexico, (Ethnic Folkway Records). histrumental recording: Mexicana — Jarabe Tapatio — Celito; Lindo, La Golaudrina (MTR). Authentic tunes: Pipe and Drum Music from Mexico (NMH, Bk. 4) ; (Folk Song) The Old Mexican Woman (NMH, Bk. 5). Popular song of Mexico: Down in Mexico (NMH, Bk. 5) ; La Cucaracha (Barbershop Harmony). 122 Music in the Public Schools MUSIC OF ENGLAND Music of a country can come from the spirit of its people. This is truly the case with the merry music of England. The gay and gentle spirit of English folk music shows this clearly, as compared with the wilder and more rugged songs of Wales and the sad songs of Ireland. England was one of the most musical countries in all Europe until the rise of Puritanism in the middle of the seventeenth century. The opera, "Hansel and Gretel," is dramatized by a cast of puppets made by the students. Music in the Integrated Program 123 The minstrels played an important part in the history of music in England. King Alfred, disguised as a minstrel, went into the camp of the Danes, played at their table, and learned their secrets. Richard the Lion Hearted was imprisoned in an Austrian castle and was saved by his minstrel, Blondel. Blondel sang beneath the windows of every castle along his travels and his master answered by singing the familiar song after the minstrel. The folk and historical ballads of England are world famous. Evidence of the folk practice of turning actual events into some kind of narrative form exists since the early Middle Ages. These ballads may hark back to the beliefs of the past. The Robin Hood ballads are a good example of how the people in general may have felt hundreds of years ago. The "Death of Queen Jane" is a historical ballad about the death of Queen Jane Seymour, the third wife of Henry VHI. "Barbara Allen" is another well-known ballad of the romantic type. An old English bishop wrote some hundred of years ago, "The Britons do not sing their tunes in unison like the people of other countries, but in different parts. This they do, not so much by art as by natural habit. Their children, as soon as they begin to sing, adopt the same manner." The earliest example of a piece of music written in different parts is the English Sumer is Icumen In." This song is in six parts and is not in the old church modes, but in the key of F. England is noted for her jolly dance tunes, some of which date back hundreds of years. These dances are in the "bright" major keys, instead of the queer old modes. These dances repeat the themes as we do in our music today. Even King Henry VIII composed dances. ("Oh Dear, What Can the Matter Be" is also attributed to Henry VIII.) The dances were used on festival days, such as May Day. We use some of the old dances today. The "Morris Dance" and "Country Dances" are very familiar to us. A dance melody that dates back at least to the 17th century, "Gathering Peascods", is found in NMH, Bk. 6. As England expanded her empire and became a sea-going nation, a whole literature of work songs or sea chanties de- veloped. England is famous for her sea chanties. The origin of most of these songs is unknown. Our school and community 124 Music in the Public Schools song books contain many very good ones. These songs actually tell us about the old sailing vessel days. "A Capital Ship", "Sailing" and "Old Man Noah" are a few examples. The carols of England for Christmas, May Day, and other festive occasions are among the most famous in the world. Each hamlet or county had its own carol. Some of these carols are known today by their original names, such as the Coventry Carol, and the Somersetshire Wassail. Some of the world famous Christmas carols are : "The Twelve Days of Christmas", "God Rest You Merry Gentlemen", "As Joseph Was Walking", "Good King Wencelas", and many others. The Elizabethan period was known as the "Golden Age of Music" in England. The educated gentlemen could sing in six- part song more easily than they could spell. A gentleman was not educated unless he could sing a part in a madrigal. A madrigal is a secular vocal composition which has up to six or eight parts for voices. A madrigal is an unaccompanied song, or we say it is sung "a capella". These secular songs were gentle pleasant songs, with such titles as "Sweet Honey-Suckle Bee", and "Now is the Month of Maying". Some of the most famous musicians, Byrd, Bull, Gibbons, and others, composed madrigals. This time was about a hundred years before Bach. The sacred form, comparable to the madrigal, is called a "motet". Music flourished in England until the Puritans came into power. They believed music must be wicked because it was so pleasant. They tore up and burned the music books, smashed the organs, and turned out the choirs. Bitter wars were fought and many years passed before music took a natural place in the church again. New organs had to be built, new choirs trained, new music books written, mostly from memory. The music of the people, however, could not be destroyed ; it lived on in the hearts of the people. Purcell was a famous master of counterpoint and fugue. Throughout his music there is a bright English melody. At the time of his death, Handel and Bach were only ten years old. The Germans who later visited England to make music con- tributed much to the restoration of music in England. Pepusch, who adopted old national and popular songs to the words of Music in the Integrated Program 125 Gay's "Beggar Opera", Handel and Bach's first song, "Christian", Haydn who presented his "Messiah" for the first time in England, are some examples. In 1842, the fifth year of the reign of Queen Victoria, was born one Arthur Sullivan who broke the foreign hold of music in England and made English music for the English people again. Sullivan's most famous hymn tune is "Onward Christian Soldiers". One of his best known songs is "The Lost Chord". The Gilbert and Sullivan operettas represent music freed from the German models. Some of these operettas are "Trial by Jury", "Pinafore", "The Pirates of Penzance", and "The Mikado". A considerable musical awakening has occurred in England during recent years. A number of talented musicians, both performers and composers, have won fame throughout the western world. Music is the art of all the people. Almost every town has its choral society. Many amateur orchestras also exist. That the people of England love music was evidenced during the dark days of the recent war when they crowded into the music halls to hear the "spirit of ole England" in music. England has not been among the leading musical nations since the Elizabethan era. Although this nation contributed no pioneers in 20th century innovations, she did produce some top-rank composers. A rise of interest in national music has been prominent. Cecil Sharp has headed the development of interest in English folk music. He has collected over 2800 folk songs. Vaughn Williams is probably the most important English composer of the first half of the 20th century. Some of his works are "Fantasy on a Theme of Thomas Tallis", "A Sea Symphony" with soloists, chorus, and orchestra, and the "London Symphony." Frederick Delius, who resided in Florida at one time, shows the influence of the American Negro in some of his works. He was influenced also by French impressionism and German romanticism. He wrote numerous symphonic poems, "Brigg Fair", "In a Summer Garden", etc., and choral works, such as "Sea-Drift", for solo, chorus, and orchestra. Scale: The extant music of the British Isles prior to the 15th century is very limited. A thorough knowledge of and an adept ability to perform the chant were required of the many 126 Music in the Public Schools missionaries who carried the Christian doctrines into Eng- land. Augustine went to England in 597 A. D., and introduced the chant. Gregory sent forty collea'^uss to England in the 7th century to found schools in a number of monasteries. The Church of England, as does the Catholic Church, used the old chant in their services. However, the English Church has modified the form. The old church modes were used in the early chants. Later, church music showed an influence of secular practices. The Irish used a whole-tone scale, as c, d, e, f#, g#, a#, c. Some of the more serious folk songs reflect the modal influences. The major and minor scale, as we know it today, prevails in much of the folk music. Vaughn Williams uses neomodality extensively. This is a departure from the major and minor diatonic scales and the use of the old church modes, not in the strict sense but in a free modern setting. However, this was not original with composer Williams. Melody : The characteristics of "English" melody is the frequent use of the major and minor tonality, repetition of melodic phrases, and the dance like rhythmic "feel". Vaughn Williams used extensively English folk song material and style in his compositions. Harmony: The old English round in six parts, "Sumer is Icumen in", indicates a more advanced stage of progress in England at that time than in other European countries. (This was during the twelfth and thirteen centuries.) Johnnes de Muris, a mathematician at Oxford, established some rules for the writing of counterpoint, (de Muris was the first to adopt the term.) These rules had to do with the improvisation of parts to accompany the principal melody. These writings were quoted by scholars for many generations. Purcell did not write with the chromatic harmony used by his colleagues in other countries. His harmonies were diatonic. Vaughn Williams uses extreme dissonances. Recordings of English Music: English Folk Songs, Ethnic Folkway Records; London Symphony, Vaughn Williams; Delius, ML4637; Koanga; On Hearing the First Cuckoo of Spring, Delius. The handkerchief dance combines music and physical education for this fifth grade. Songs of England: As Tommy Was Walking; Lullay, Thou Little Tiny Child; Santy Malony; Where Are You Going?, NMH, Bk. 3; Over the Hills and Far Away; Oranges and Lemons; Blow Away the Morning Dew, NMH, Bk. 4. As Joseph Was Walking; Blow Up Winds in the Morning; The Frog and the Crow; A Frog He Would a Wooing Go, (NMH, Bk. 5) ; All in a Garden Green; Bell Doth Toll; Botany Bay; Eight Bells; Gathering Peascods; God Rest You Merry, Gentlemen ; Wassail Song, (NMH, Bk. 6) . English setting with slight modern touch Robin Hood YPR 1010-11. Robin Hood Ballads and others The Ballad Tree, British and American Ballads, Their Folklore, Verse, and Music. Wells, The Ronald Press Com- pany, New York, 1950. MUSIC OF SPAIN For centuries Spain has been the scene of violent clashes between men and their varying ideas. As a result this country has produced a wealth of musical folklore. Despite the fact that Spain has several quite distinct areas, Andalusia, Castile, Catalonia and others, a certain consistency in the music has produced a characteristic Spanish style. 128 Music IN THE Public Schools Spanish music in the Middle Ages, the Renaissance, and the early Baroque is as yet hardly explored. Church music, especially of the early periods, is almost entirely unknown owing to a lack of publication. . . Spain is especially known for her dances. Dancing has always been one of the most expressive forms of music in Spain, thus accounting for the strong rhythmical character of so much of the Spanish music. Many composers in modern times have drawn little from the themes and rhythms of the Spanish dances. Twentieth century Spanish music is highly colored by a national style. There is little ultra-modern music ; most of it is basically romantic or impressionistic. Manuel deFalla is the most important twentieth century composer. Scale: Modern music is usually in major and minor tonalities often with a modal flavor. There is a prominence of the Phrygian mode in the DeFalla music. Melody: It has a strong feeling of warmth and passion. At times the serious mood is expressed, reflecting the ancient chants. DeFalla does not use actual folk tunes in his music, but a strong Spanish folk element is very pronounced. A characteristic melodic pattern of the Andalusian cadence is A G F E, and is frequently used by DeFalla. His melodies usually have a strong range. Rhythm: Considerable use of syncopation and irregular rhythms is characteristic of Spanish music. Rhythm is highly important in DeFalla's music. In addition to the Spanish rhythmic patterns, he uses several different rhythms at one time. Some of the famous dances of Spain are : the tango, said to have come from Africa; the habanera, named after her city, Havana; the bolero; the seguidilla ; fandango; and the jota which is one of the most popular. Harmony: The harmonic change or rhythm is slow. Instruments: Guitar is the most important. Lute is an instrument of the Middle Ages, a flat, pear-shaped guitar with six pairs of strings tuned a fourth apart. Castanets come from ancient peoples Music in the Integrated Program 129 Tambourine Mandolin Authentic Recordings: Music of Spain, p. 411 (contains some of the dances) Music of the World's Peoples, Vol. 1, p. 504, Ethnic Folkways Records. Modem Composers: Manuel deFalla, The Three-Cornered Hat Albeniz, Iherian Suite Composers, and their music, who were influenced by the Spanish : Ravel : Rapsodie Espagnole, Alborado del Gracioso, Bolero Debussy: Iberia, La Puerta Del Vino (Mout de Habanera) Bizet : Opera, Carmen MUSIC OF PRIMITIVE AFRICA Music of the African is integrated with his living. Music accompanies most of the activities — work, parades, dances, religion, war, love, praise of great men. Music gives courage in battle, heals the sick, and mourns the dead. Everyone in the village participates in these activities. The music is vital, spontaneous, natural, exuberant, and the result of great crea- tive energy. Melody: It is frequently chant like, sometimes using the penta- tonic scale. Rhythm : It is the outstanding feature of his music. Rhythm is often very complicated with cross-rhythms, that is, several different rhythms at the same time. The African is a master of the art of movement. The tango comes from the African "tangara". Dancing is an integral part of most of the rituals ; syncopation, the forte of the African. Harmony : While no harmony is used intentionally, there are frequent evidences of it in the music. Voice quality : It is often deep and rich, with some wild and sharp yells injected in his singing. Frequently one person begins and the others join in, becoming louder and more excited. 130 Music in the Public Schools Instruments : Drums: They are by far the most important. Drums are a valued and revered possession. They are used as means to drive away evil spirits, to carry messages through the jungles, to cure diseases, to aid in sports, to express emotions in w^ar or in the dance, and to mourn the dead. Many types and sizes of drums are used. Stringed instruments: Harps and lyres in sizes from one to eighteen strings are used. They are made in many forms and of many kinds of materials. Wind instruments : Some of these instruments are whistles, flutes, horns, and trumpets, often made of human thigh bones and elephant tusks. Noise makers : Rattles, bells, cymbals and other similar types are used to mark the accents of syncopation. The African "Piano" : It is known as the "thumb piano". It is very popular throughout Africa. It is made of a wooden box over which metal strips are fastened. The thumbs "twang" the strips as the instrument is held in the hands. Autheiitic Music Recordings : Belgian Congo Records of the Denis-Roosevelt Expedition, (Reeves Sound Studios, Inc., New York) ; Music of Eq-uatorial Africa, p. 402. (Ethnic Folkway Records). MUSIC IN EGYPT Music in Egypt goes back to 4000 B. C. Very little informa- tion regarding the music of Egypt remains, because no musical notation existed at that time. The musical art also was most carefully guarded by the priesthood who considered music sacred and changeless. What little that has been learned about the music of Egypt came from the deciphering of ancient hiero- glyphics used by the Egyptians to adorn their buildings and tombs. Music, together with the dance, was a very important part of the religious service in the temple and activities of the royal court. Groups of singing dancers, most often women, were maintained in both the temple and the royal court. Music in the Integrated Program 131 Egyptian grandeur was at its height about 1500 B. C. Egypt had conquered much of then-known world. Life was luxurious for the privileged classes and with such an existence, music in all forms became gayer and more complex. Moreover, music came out of the temple and graced the banquet table and other festive occasions. The glory of Egypt gradually declined until the conquest of Egypt around 500 B. C. Egyptian music strongly influenced the early music of Greece. Plato visited Egypt and admired her music. Pythagoras and other Greek philosophers studied in Egypt. The Egyptians, during their lush period, loved big things. They had the huge pyramids and temples. They also satisfied their desire for activities on a large scale by large choruses, said to have numbers as many as ten thousand, and orchestras running into the hundreds. The orchestras usually included harps, lutes, lyres, and sistra. No drums were used in these orchestras. Harmony: None as far as can be judged. The music of the choruses and the orchestras was probably in unison. Instruments : The Harp : The harp was an Egyptian invention. Many kinds of harps existed, from the crude type of six or seven strings to an advanced form with as many as twenty-six strings. The harp was the most distinctive contribution Egypt made to music. The harp was the chief instrument of their orchestra. The rise and decline of the Egyptian people can almost be interpreted in the use of their harps. About 2000 B. C., when Egypt was greatest, harps were the most beautiful and efficient. The Sistrum : A rattle made of wood, metal, enamel, or por- celain. The sistrum consisted of a frame shaped like a loop, with rods placed transversely and discs hung on them. Cithara: It was a lyre with as many as eighteen strings, played with or without a plectrum. Guitar: It had a long neck and two or three strings. That the guitar existed 4,000 years ago is one of the remarkable facts of musical history. Cymbals : They were similar to our own. 132 Music in the Public Schools Clapper: It was an old instrument consisting of two sticks held in one hand. Lute : It had a very long neck and half almond shaped reso- nance body. Pipe : It was simple, single variety. Drums : There were several kinds and sizes, one large, one tapped with the fingers and palms of the hand. Authentic Music Recorded : Folk Music of the Mediterranean p. 501, Ethnic Folkways Records). Authentic Song: Desert Song (Dervish Song From Egypt, NMH, Bk. 6) ; Nile Boatman's Song (Egyptian Peasant Melody, OSW, Bk. 6). Other Music : Excerpts from The Opera Aida, RCA Victor ; Canopus (city in Ancient Egypt, on the River Nile) Piano Prelude by Debussy. MUSIC IN ANCIENT GREECE Music to the Greeks was one of the most important branches of learning, even more important than grammar or arithmetic. Every educated man was expected to study music and to be able to sing and accompany himself on the lyre. The word "music" is Greek. Music, as the term is used today, had an A Greek play, "The Golden Apple," including original story and dance, was written by this sixth grade as a culmination of their social studies unit. Music in the Integrated Program 133 entirely different meaning to the Greeks. The Greek idea of music was a composite of poetry, dancing, acting, and musical sounds. Music took a prominent place in the life of all Greeks at home, in religious and civic festivals, and even in political life. The chorus of men only was an effective part of their dramas. All through the play, a chorus would sing or chant something to suit the happenings of the play. Sometimes this chorus was divided into two parts; one would sing and be answered by the other. This use of music with drama was the forerunner of our grand opera. The songs or chants of the chorus were in the different modes or scales which the Greeks used to express every feeling. Doric, for instance, beginning on "d" playing the white keys of the piano through "d" again, expressed courage. Mixolydian expressed fear and surprise. The Lydian mode, expressing peaceful pleasure, is just like our major scale today. The Greek chants were used in the temple also. The chants of the temple and drama influenced later music in the Western World more than any other music. The Greeks had many legends to tell how music began. The mischievous god of Pan was the first to make music by blowing through a reed. While chasing the maiden Syrinx, she changed to a reed through which the wind blew and made music. Pan broke the reed into pieces of different lengths and made a musi- cal instrument called the syrinx. The syrinx is supposed to be the first of all wind instruments. From the little syrinx, which was blown by every shepherd boy, grew the mighty organ with its great pipes through which air is forced from bellows, pumped first by hand, and now by electric motor. Poets strummed on the lute and lyre as they sang of the adventures of heroes and gods. Certain of the gods were devoted to the art of music. Apollo was the deity of poetry and music. He was thought to be able to inspire the singer's utterance and was consequently associated with music of a dignified type. Apollo is the object of praise in one of the best known Greek songs called "Hymn to Apollo". Orpheus played the lyre and cast a spell on all who heard him. Homer lived during the latter part of the Greek mythical period, and his Iliad cmd Odyssey are important source books of information on the music of this time. Ulysses had to be chained to the mast and his sailors' ears stopped with wax in order to pass the song of the sirens. 134 Music in the Public Schools A relief on a marble sarcophagus now in the Florence Museum depicts this episode. The three sirens are represented as ac- companying their song with a lyre, a double flute and a syrinx. Homer, himself, was perhaps a musician, since he "sang" his poetry when rendering it. Melody: Few melodies that are authentic exist and these are only fragments. Most important of these is the "Hymn to Apollo". This ancient hymn was engraved upon the walls of the Athenian treasury at Delphi. A small fragment of the wall was discovered in 1893 by a group of archeologists. This hymn was composed about 300 B. C. Vocal music was more important to the Greeks than instru- mental. Melody of either song or instrument seldom ex- ceeded the range of an octave. Melodic changes had a tendency to follow the inflections of the spoken language. They con- sidered octaves, fifths, and fourths (consonants) in music to be desirable. Seconds, thirds, sixths, and sevenths were undesirable sounds. Rhythm,: The rhythm of their music followed the natural rhythm of the poetry. The meter was determined by the poem. The dance was so closely linked with music and poetry that no picture of Greek music would be complete without it. The chorus, while singing, executed dances which were mimectic expression of the ideas in the poem. Harmoyiy : All their singing was doubtless done in unison. The instruments were used with singing only for preludes, with an occasional note struck during the progress of the singing. This term "harmony" was used in connection with music, but this term referred to the relations of design as a whole. Notation: A system of notation existed in Greece by which the pitch of notes could be indicated. More than a hundred characters were used, letters of the alphabet in various positions, with lines underneath to show the duration. The Greeks were unique among ancient nations in possessing musical notation of any sort. Although there is a good deal of description of the alphabetical notation employed, actual examples are very scant. The best example is "The Hymn to Apollo". Music in the Integrated Program 135 Scale : From three different modes, called Dorian, Lydian and Phrygian, different varieties of scales developed. An ac- curate idea of these scales may be gained by taking in turn each of the white notes of the piano as a keynote, and playing from each a succession of white keys. Observe that one of the resulting passages is our major scale of C, and one starting on A, the so-called ancient minor scale. These scales were named for tribes of people in or near Greece. Greeks believed that these scales expressed the characteristics of the people for whom they were named. Instruments : The ancient Greeks did not have many musical instruments, other than a few variations on the lyre and the flute. No instruments apparently existed of the lute type, nor any played with a bow. Lyres : They were of many varieties. Mostly used were the lyra and kithara. Tyra : It was popular with amateurs and common among the people, and is used at the present time. Kithara : Because of its close connection with the tone system, it was a most important Greek instrument. The kithara was a plucked string instrument without a finger board. The strings were stretched from a crosspiece, held in place by two uprights to the base of the instrument which was in some cases a soundbox. The kithara was used for centuries by professional musicians. It was the more advanced type of lyre. Harp : This was an angular form which came from the orient. The harp was played mostly by women and was never very popular with the Grecians as a whole. AULOS: It was double reed pipe made in different sizes and pitches. Pan-Pipes or Syrinx: A shepherd's instrument consisting of a set of tubes, usually seven, fastened together to form a raft. Wood, bronze, or clay was usually used. Salpinx: The Greeks had one primitive brass wind instru- ment, the salpinx. Its use was probably military. It was a straight metal tube, which tapered from bell to mouthpiece. This instrument had no finger holes and the range, in all probability, was extremely limited. 136 Music in the Public Schools Authentic Music Recorded: Music of the World's Peoples, Vol. 1, p. 504, Ethnic Folkways Library. Hymn to Apollo, V 24549. Skilion to Seikilos, No. 1, "2000 Years of Music". Hymn to the Sun, No. 1, "2000 Years of Music". Authentic Greek Melodies: Hymn to the Muse, The Shepherd Boy, Dance of Zalongo, Pythic Ode, Growing Up With Music, complete edition, b®ok 2, Perham, Neil A. Kjos Music Co., Chicago. Other Recordings: (that "catch" the ancient pagan spirit.) L'Apres Midi d'um Faune — Debussy LBC-1019 RCA Victor Daphnis and Chloe— Ravel ML 4316 Col Mere I'Oye (Mother Goose Suite), Laideronette and Pavane — Ravel ML4355 Col Entrance of the Little Fauns — Pierne ML 4118 Col Gymnopedie No. 1 — Satie ML 4399 Col Dance of the Spirits from the Orpheus Ballet — Gluck Fourth Symphony (second movement) — Brahms ML4017 Col. Modern Greek Music: Christosanesti Angeles Evoca Hesapiko (Shepherd's Pipe) Sirtes MUSIC IN RUSSIA Russia is rich in folk music of various types and influences. The history has been long and turbulent with many invasions from East, West, and South. In Russian music are found the characteristics of the Byzantine Empire, Asian and other Euro- pean countries. The folk music of the peoples has existed through all the ages, but it was not until the nineteenth century that Russian composers looked to their own folklore for inspira- tion. Tchaikovsky, although thought of as one of the most popular of Russian composers, is truly an international musician. He was influeiiced by the music of many nations rather than the folk of his own nation. Listening to the music of Tchaikovsky Music in the Integrated Program 137 one realizes the ''language" is familiar and not of foreign nature. Tchaikovsky used little of the Russian themes and motives in his vi^orks. Five musicians of Russia in the 19th century banded to- gether in St. Petersburg, bearing a banner for Russian national music. They set out to influence Russian composers to use their own heritage of Russian folk song and church music. This movement gave birth to a new flavor in Russian music, built upon their centuries old folk and church art. Glinka harmonized the Russian folk songs by pure instinct without being able to find a theoretical key to his procedure. Glinka's Life for the Tsar furnished a work that represented the beginnings of a national art music in Russia. Rimsky- Korsakov set to music beautiful fables that are truly and ex- clusively Russian in spirit. His music, however, did not "catch" the somber and fateful feelings of tragedy in the Russian people. The Rimsky music is always gay, colorful, but devoid of the problems of the Russian soul. Moussorgsky is said to be the founder of modern musical realism and naturalism. Moussorg- sky is the Russian musician, more than any other, who captured the passions and smoldering forces that have been inherent in the Russian people for centuries. Boris Godunov, the greatest musicodramatic masterpiece of Eastern Europe, is Moussorg- sky's finest work. Moussorgsky's Pictures at an Exhibition has many old folk melodies as its themes. The extensive use of folkloristic elements lent to Russian music an exotic touch, yet much of their music is cosmopolitan, that is, it speaks a language that is familiar to us. Russia has made a place in the history of music that is of great importance. Many famous composers have contributed a wealth of fine music for us to hear. Scale : Frequent use of modal and minor tonality is found in the Russian folk and church music. Melody : When "Russian" in character, the melodic line often conveys a direct, compressed emotional quality. It has inter- vals that sound pecuhar to us, especially the falhng fourth at some cadences. The phrase structure is irregular as con- trasted with the rather regular phrase structure of our folk music. 138 Music in the Public Schools Harmony : Sometimes it is archaic and has modal basis. Rhythm : Sometimes it is based upon a monotonous repetition of a rhythmic pattern, and other times the rhythm is irregular following the natural rhythm of a text. Instrument : The best known native instrument is the Balalaika, a triangular stringed instrument with three or four strings, similar to our guitar. Authentic Recordings : Music of the Russian Middle East, p. 416 ; Music of the Ukraine, p. 433, Ethic Folkway Records ; Boris Godounov — Moussorgsky, C M14115; Pictures at An Exhibi- tion— Moussorgsky, V LM 1719. Other Composers: Tchaikovsky, (Nutcracker Suite), Rim- sky-Korsakoff, (Scheherezade Suite), Rachmaninoff, (Pre- lude in G Minor), Stravinsky, (The Firebird Suite), Proko- fieff, (Peter and the Wolf). Authentic Soug : Song of the Volga Boatman, NMH, Bk. 5, Homeland, NMH, Bk. 6. MUSIC OF CHINA Music of China dates back thousands of years. Confucius loved music. Emperors before him were composers of music. Nothing remains of this ancient music, however, for in 246 B. C, Huang-Ti ordered all books but those on medicine, agri- culture and divination destroyed. The music of antiquity was gone forever. Later rulers sought to revive music. Music, through the centuries, has become a close companion to the people, from the coolie to the ruler. Chinese music was fully developed long before the Christian era and has made little or no progress since. The extreme con- servatism, characteristic of the Chinese, has always been a feature of their music, which has always been under state supervision to guard against change. China is unique among Oriental nations in the possession of actual documents, centuries old, which attest to the interest always felt in music. Their music was closely associated with religion, but Chinese music is not primarily an expression of emotion. The Chinese theorize about tones and tone combinations, and then adjust them by rule. Whether the resulting sounds please the ear or not does not matter. Thev are correct and that is sufficient. Music in the Integrated Program 139 Scale: The Chinese, with a seeming poverty of invention, chose three thousand years before the Christian era just five notes for their scale. These notes can easily be remembered from the fact that they correspond to the black keys of the piano, starting with F:^, play the five black keys. This five tone scale is called the pentatonic scale. Much of the folk music of China, and some other countries, is based upon this type of tonality. Modern Chinese music does not confine itself to the five tones of the pentatonic scale, but uses it as a basis for tonality. The origin of the pentatonic scale is attributed to a musician in the court of the Yellow Emperor who heard the call of the Phoenix Bird, both male and female. He cut reeds from the sacred river to match their notes. The five-toned scale is said to be the Five Principles of the Universe, such as the five planets, the five continents, and the five senses of man. Melody: It is very simple with almost complete absence of chromatics, often having a monotonous sound. The range seldom goes beyond one octave. Try to create a melody at the piano keyboard using only the black keys for one octave and you may find this melody sounds dull to us because we are accustomed to hearing a variety of tones in our melodies. However, the Chinese people liked their type of melody. Harmony : Singing was in unison. Notation: Five characters representing the five tones of the scale were used. The music was written in vertical lines from right to left. No time signature was indicated. Interpretation signs were unknown. Voice Quality : It was very nasal. Instruments: The Chinese have a surprising variety of musical instruments, some of great antiquity, including all three classes, percussion, wind and stringed. A great many speci- mens of the percussion class exist. A representation of an ancient orchestra shows no strings. Two drums, two flutes, two reed-wind instruments, a large bell, and an instrument which served merely to mark the time. 140 Music in the Public Schools King: It is the oldest instrument. It consists of a graduated series of stone or metal plates hung in two rows from a frame, and sounded with stroke of the mallet. The Chinese use this instrument in connection with their religious services and many other occasions. Drums : They are of various sizes. A giant drum of great antiquity, as well as a variety of smaller sizes, exist. Gongs : They are made in various sizes and used for many occasions, such as the announcement of guests arriving, at- tracting attention of the gods in the temple, announcing the approach of an official procession, and to mark the hours of the day as a clock. Moon Guitar : It has four strings of silk or copper. The neck has frets to aid the player. It is built to resemble a full moon and is used mostly to accompany ballads. "Violin" : It has a hollow cylindrical box for a body, with four silk strings. The bow passes between the strings and the body of the instrument. The bow is very difficult to manage. Sheng or Mouth Organ : It is an instrument of the cultured and aristocratic class. It is the predecessor of the organ. It has pipes of varying lengths of bamboo, each having a thin strip of brass inside to act as a reed. The pipes are set in a cup, usually a gourd, which is played by drawing in the breath. Confucius considered the sheng a sacred instrument. The tone is delicate and sweet. Flutes : They are made of bamboo. Authentic Recordings: Music of the World's Peoples, Vol. 2, p. 505, Chinese Classic Instrumental Music, FP12, Ethnic Folkway Records. Chinese Instrumental Music, V24549. Authentic Chinese Melodies: Chinese Vegetable Man, Chinese Farmer's Song, Flute Tunes from China, NMH, Bk. 4. Bamboo Flute, NMH, Bk. 5. Meng Chiang Nu's Lament (pentatonic) NMH, Bk. 6. Chinese Na- tional Anthem, NMH, Bk. 6. Piano, autoharp, and melody flutes make note reading fun for this fourth grade. SOCIAL MUSICAL INSTRUMENTS IN THE SCHOOL MUSIC PROGRAM Social or Informal instrument is the terminology given to those instruments generally associated with recreational or folk music, as the guitar, autoharp, ocarina, recorder, accordion, maracas, etc. Since boys and girls have pleasant associations with these instruments outside of school, it would be profitable to use them in the general music program. Values of the social instrument program : • The simplicity of the instruments gives satisfying musical experiences to the less talented child. • The social instruments make it possible to have an ac- companiment, where there is no piano, to the singing and rhythmic activities in an integrated program. (See Singing, Rhythm, and Integration Chapters.) • Experiences with melodic instruments (tonettes, bells, etc.), rhythmic instruments (rhythm sticks, maracas, etc.), and chording instruments (guitar, autoharp, etc.) give feeling for tonal direction, rhythmic beat, and harmonic feeling of the music. These experiences are a part of the music reading program. (See chapter on Music Reading, also Primary Manual for State-adopted text.) 142 Music in the Public Schools THE XYLOPHONES AND BELLS These suggestions are not necessarily limited to levels as in- dicated. Pupils without previous xylophone experience w^ill en- joy any of the activities enumerated in earlier grades. Those who are especially able may progress beyond the material listed here. LEVEL ONE'^ — The diatonic xylophone and resonator bells. Ear training Ear training is of most importance; high-low for contrast differences are admirably demonstrated vis- ually and aurally. Other large concepts may also be taught, such as fast-slow, loud-soft, and heavy-light. Ghssandos (rapid strokes up and/or down) may be used in creative orchestration of songs; i.e. the mouse in "Hickory, Dickory Dock". These instruments should be available to children for their own use in picking out tunes, merely to learn rudiments, or to allow active enjoyment during the school day. LEVEL TWO — same instruments. Ear training Continued ear-training will lead to first steps for scales in scale building. Recognition of large skips, small skips, step-wise tones, and similar notes will develop during the year. Simple tunes may be easily learned, i.e. "Mary Had a Little Lamb", "Hot Cross Buns", "America", and "Row, Row, Row Your Boat". (See page 39 of the Primary Manual, New Music Horizons Series, for additional suggestions in regard to pitch-producing instruments.) LEVEL THREE— same instruments. Hearing and Tonal patterns from the scale may be read, reading tonal sung, and played. They are easily isolated by patterns the use of separately mounted blocks (some- times called tuned resonator bells) . An adapta- tion of this is to play a tone or series of tones and have these notes sung back using syllables, numbers, or letters. A tonal pattern is made up of tones in the scale; it may be compared to a vocabulary in the reading process. Some examples in order of presentation are : 5-3 ; 3-5 ; 3-1 ; 1-3 ; 5-1 ; 5-3-1 ; 1-3-5. 'The word 'level" does not necessarily designate the grade; rather, it refers to the "ability level", which is dependent upon the pupil's past experience. Social Musical Instruments in Program 143 Hearing A feeling of harmony may be evoked by playing any harmony of th© above patterns simultaneously. The children will enjoy further individual explorations in this field. (See page 41 of the Primary Manual.) LEVEL FOUR — The diatonic xylophone, some use of the chromatic xylophone, and the tuned resonator bells. Singing harmony Continued experience in tonal patterns in thirds and using groupings of three or four notes is sixths given. Since most melodic instruments are labeled with letter names, this will provide an opportunity to teach the names and the staff positions of notes effectively. More experiments in harmony may be carried on, particularly thirds and sixths moving in the same direction. Example, Bk. V, harmony in thirds, "Leron, Leron" (pp. 72- 73) ; and harmony in sixths, "Lift Up Your Voices" (p. 78). LEVEL FIVE — The chromatic xylophone and the tuned re- sonator bells. Singing and Since this level occurs at about the time that playing chords the beginnings of two-part singing are being taught, the xylophone may be used advan- tageously to hear, play, and reinforce harmony. Chording with bells rather than an autoharp or piano is a pleasant change, and may lead, with little effort, to vocal chording alone. Example, Bk.^ VI, "Down in The Valley" (p. 26) ; Bk. V, "Clementine" (p. 160) ; and "Shoo-Fly" (pp. 92-93) ; also, simple rounds. Playing simple It should be possible for children of this age accompaniments to learn to play some of the simple melodies found in the North Carolina State Depart- ment Physical Educaiion manual (pp. 159-178). A visit to another classroom, probably at a lower grade level, to provide the music for the rhythmic activity would bring a lot of satis- faction and enjoyment to both groups taking part. LEVEL SIX — same instruments as above. Creating chords Chording in songs involving two or more and descants chords in major and minor keys may be in- troduced. Counter-melodies and descants may be played ; these may be original, or taken directly from books at hand. (Bk. VI, "Twenty, Eighteen", p. 127.) Descants 144 Music in the Public Schools or counter-melodies are really easy to construct; one has only to find two, three, or four notes that sound well when played while a song is being sung. The numbers of the bars, or the letter names of the notes, may be recorded for reference ; and after several hearings, part of the class may wish to sing along with the xylophone player. (In Bk. VI a good song for ex- perimentation for an original descant is "Praise the Lord", p. 167). A suggested "game" for use with bells is to assign notes found in the melody to different students, and then play the song by ear. This develops rapidly after several experiences with the teacher's aid. • ^ „ ., LEVEL SEVEN— same as above. Another use Direct reading of songs from the book and of the xylophone original melodies for xylophone should be encouraged. The part of the xylophone in creative orchestration should not be limited to melodies or har- monies, but may provide a rhythmic expression as well. THE SONG FLUTE OR TONETTE PROGRAM Value of the The playing of song flutes (or tonettes) can song flute or be one of the most profitable activities in the tonette school music program. Song flutes, through an instrumental approach to music reading, greatly strengthen the power to read music. As a preparation for the study of real musical instruments, and as an indication of a child's aptitude for the study of real instruments, song flutes are most useful. They constitute an inexpensive device that provides enjoyment, much opportunity for learning, and the benefits to be derived from satisfying group activity. Advantages in One of the chief disadvantages to learning to reading with read music with the voice alone is the vague- instrument ness and abstract quality of the voice. Since there are no valves to press, nor lingers to be placed on a keyboard, the lack of a motor action to couple with musical notation is confusing to many children. From the very first time children begin to play song flutes, they begin to read The combining of melody, harmony, and percussion instruments gives a variety of musical experiences. musical notation, clapping or acting rhythms, playing, and singing tones which they have heard many times before in their rote experience. Procedure for teaching tonette or song flute: • Teacher should demonstrate desirable tone quality, indi- cating how much air to use in order to produce good tone. • Each tone should be tongued in the same manner as the flute — legato (long), staccato (short). • Simple rhythmic patterns should be taught by rote (clapping) . • Note values, such as quarter, eighth, half and whole notes, might be referred to as walking, running, and holding notes. Song flute books are largely self-explanatory as to method, making it very simple for the teacher to present, even if she has no technical musical background whatsoever. Most books contain 146 Music IN THE Public Schools carefully graded, progressive pieces which lead to easy and pleasurable mastery of the instrument. When to intro- It is desirable to begin the study of the song duce the song flute flute in the fourth grade, although some schools introduce it in the third. The place- ment of it will largely depend on the plan of the overall instru- mental experience program. The question about whether the group should be selective or should include everyone is often asked. Since public information with beauty and clarity is not the principal objective of this work and since every child will learn what he can from it, all should be allowed to take part. Some of the method books contain autoharp chord letterings. It is possible for children who cannot grasp the musical notation quickly enough to play the song flutes with the others, to play the notes as indicated for the autoharp. This provides the group with a harmonic "ground bass" which has a pleasing sound. It allows the pupils with lesser ability to take part with- out seriously penalizing the musical eff'ectiveness of the whole group. : ..-.. Several brands of these instruments are available, and the choice will depend on the teachers' preference as to tone, dura- bility, and price. Most music stores have at least one kind in stock. Stands may be purchased, or improvised from wire coat- hangers. If desk tops are sloped enough, stands are not neces- sary. How to integrate After some ground-work has been laid, the with State music instruments should be used with the State books music books whenever possible. Many simple songs may be found that may be played after a relatively short period of learning. Some ex- amples from NMH, Bk. 4, include: ''Day is Done" (p. 3) ; "Those Evening Bells" (p. 6) ; "Swinging" (p. 7) ; "Gentleness" (p. 7) ; "Polly Wolly Doodle" (p. 8-9) ; "Marching Song of the Shep- herds" (p. 10) ; "Time to Go to Sleep" (p. 12) ; "The River" (p. 11) ; "Faith of Our Fathers" (p. 15). After reaching a place about halfway through most of the method books, the notes will all have been taught, and a teacher can quickly tell by glancing at a song whether it is limited to the tones of the song flute or not. Social Musical Instruments in Program 147 Value of the If in the following year the children are social instruments going to be offered the opportunity to begin the study of the real band and orchestral instruments, they may be advised pro or con with a large degree of reliability. While other factors certainly enter into the pic- ture (for example, a child who was not really interested in song flutes still making a good band possibility because he wants to play a drum), in general, those who were successful with the song flutes will also be the best candidates for instrumental study. Of course, they will have already learned how to read music in the simple keys and rhythms, how to finger in a manner similar to many band instruments, and how to work, learn, and progress as a group. This kind of a student is a fine gift to present to the instrumental teacher the following year. THE AUTOHARP Description and This social instrument is a wonderful use of the autoharp stimulant to recreational singing. In the upper elementary grades in particular, there may occur an age among some of the boys when singing loses out to the competition of sports, the voice begins to become unmanageable, and the song literature generally does not seem to satisfy. With the introduction of the autoharp new interest arises. The autoharp is an adaptation of the old-fashioned zither, with five or twelve bars which automatically dampen certain strings when depressed, forming chords that sound rich and full. By using songs which contain only one chord at first, the most reluctant singer can be coaxed to show his prowess before his classmates, and is usually pleased and sur- prised that he can do so. "Row, Row, Row Your Boat", "Three Blind Mice", and other simple rounds are good "beginners". It is helpful to distribute community song leaflets or sheets to the class in order that those children who cannot at first tell when and which chords to play can mark them over the words in the songs. In the Fifth and Sixth Books of the New Music Horizon Series, many songs are marked with the proper chords for ac- companiment on the autoharp, and a list of these is found in the Intermediate Manual on page 29. With nothing else but an autoharp and voices, it is possible to have fun finding the chords that "sound best" with the songs. 148 Music in the Public Schools (See bibliography at the end of this chapter for specific aids for the autoharp.) AN EXPERIMENT IN KEYBOARD EXPERIENCES (An article by an elementary classroom teacher) Beginning keyboard Just before Christmas vacation, when experience the children were enjoying singing many Christmas songs, they were asked if someone could play a Christmas song on the piano. No one volunteered ; but when asked if they would like to learn to play the piano, then the fun began. It was a new experience for this group of fifth graders. Many of the children had par- ticipated in group instruction given in woodwinds and strings, but how the whole group would react to piano playing was un- known. Melody On the following day, however, it was not long be- direction fore hands moved up and down in the air with the music ; bodies moved and hands clapped with the rhythm. It was soon learned that their hands moved in the Chording on autoharp and piano makes a good accompaniment for the melody of the bells. Social Musical Instruments in Program 14.9 same direction on the keyboard as they had moved in the air. From then on very httle encouragement was necessary to in- terest the children in playing on the piano and on their paper keyboards. They took turns — one going to the piano while the others played at their desks. By the end of the first lesson every child had had an opportunity to play at the piano and had gained a feeling of success in playing a piece. Playing scales Books for piano instruction were secured and used frequently during succeeding lessons. Each time the songs were first taught by rote. Expression (or tempo) marking at the beginning of the song and the mood (as shown by the title and words) were determined in order to find the correct tempo in which the song should be played. Time signatures were noted in each piece in order to determine the number of counts in a measure and placement of accents. While one child used the piano, the others used their keyboards, playing scales for the particular piece being taught. This enabled them to determine which black keys would be used in playing the piece. It was discovered during the first lesson that one must use his right hand from Middle C to the right of the key- board and his left hand from Middle C to the left of the key- board. During each lesson the fingers would be numbered, the thumb being "one", the index finger, "two", and so on, for each hand. Much interest and enjoyment resulted, so that even the shy children showed enthusiasm in going to the piano and in playing at their keyboards. The children encouraged criticism from their classmates as they played. It was soon learned that the same piece could be played in other keys and as a result many new ones were introduced. Recognizing the difference in the sound of pieces played in the major and minor keys followed. The group enjoyed making original melodies and experimenting in harmonizing them. Sharing experience The children were eager to play for with others parents on Parent Education Day and to share their experience with other groups during the year. Much enthusiasm was shown as the pupils acquired a new outlet for their love of melody and rhythmic impulses. Music had become functional in the life of every child. 150 Music in the Public Schools Integrating These piano classes were not set aside from the values rest of the school music — they were a part of Kt. They not only taught keyboard skills ; they were a part of singing and creative rhythmic activities. They were music lessons which gave the children an opportunity to play the piano and thus laid the foundation for intelligent musician- ship, especially in song singing, reading, and in string, wood- wind and percussion playing. Such musical experiences may be the means of discovering and encouraging further piano study and future pianists. Teacher The one thing that impresses me in luorking on evaluation a program connected with keyboard experiences is the real, personal interest of a great group of average individuals in being able to play the piano. This musical activity is highly beneficial to the school program; it seems to refresh the children and frees them for creative activity in other fields. Keyboard experiences are a part of our balanced, integrated school program. THE HARMONICA A good discussion of this instrument is given on pages 110 and 111 of the Fifth Book, Neiv Music Horizons series. Many varieties of this instrument are available, such as the chromatic harmonica, which permits playing the half tones between the whole tones of the scale. Most young boys could give excellent lessons on the harmonica to their teachers, and the teachers should take the lessons ! Let others in the class learn from those who know, and encourage the children to use the skills they have in the classroom. ^ Social Musical Instruments in Program 151 •! THE UKELELE Similar to the autoharp, the ukelele may be used to stimulate a waning interest in singing, as well as to teach chord usage and simple harmonizations. If an autoharp is not available to a ckssroom, someone in the room will surely have a ukelele at home. At first, it may be desirable to attach an inexpensive device that depresses the proper strings to make a chord, to "get things started". These may be found in any music store. Like the autoharp, the ukelele may then be used to accompany the singing of community-type songs, and also songs in the State series. A small instruction book which explains the placement of the fingers to form chords is usually included with a ukelele. This greatly expands the use of the instrument and leads to a larger song repertoire. Since most folk singers use some kind of a fretted instrument while they sing, its use in the classroom lends an air of authenticity to the singing and at the same time makes a rhythmic pulse that keeps the pace of the song going from the beginning to the end. Modern day educators, far from frowning on the use of these social instru- ments, realize that children believe a teacher is "keeping up with the times" when he knows about them and encourages their use. 152 Music in the Public Schools USE OF SOCIAL INSTRUMENTS Instruments Melodic Rhythmic Keys Scales Chords Autoharp X X Banjo X X X Castanet X Chimes X X X Clave X Cymbals X Guiros X Guitar X X X Harmonica X X Harmolin X X Jingle Blocks X X Jingle Hammer X Maraca X Ocarina X X X Pat-a-cakes X Pipes or Chime] Bells by Handy}- Folio Co. J X X X X Recorder X X X Resonator Bells] or Marimba j X X X X X Rhythm Snare Drum X Rhythm Sticks X Sand Blocks X Sleigh Bells X Tom-Tom X Tone-Tap X Tonette or Melody Flutes X X X Triangle X Ukelele X X Wood Blocks X Xylophone X X X Instrumental Music in Elementary School 153 INSTRUMENTAL MUSIC IN THE ELEMENTARY SCHOOL FUNDAMENTAL PRINCIPLES The study of music is a very natural and important part of a child's education, because it leads him toward a more en- lightened enjoyment of his entire musical and cultural in- heritance. For this same reason, and in a very special v^ay, the study of instrumental music is also a natural and important part of a child's training. Instrumental Although the instrumental music program music and the usually touches a relatively small part of the school student body of a school, it can have a marked effect on the overall program. Contributions by individuals and large groups and presentations of various types of music will definitely improve the total school program. Students, faculty members, and administrators take pride in having a good school band and orchestra. Parent groups and More experience is gained by playing in small groups. 154 Music in the Public Schools the public in general also have a feehng of pride in the success- ful performances of the musical organizations of the school. However, the instrumental music program offers the greatest good to the players themselves — the members of the band and orchestra. Instrumental The well-rounded band and orchestra pro- music and the gram in the elementary school offers a broad child experience to the child who plays an instru- ment. The music classes not only develop his technical skill, but also bring about musical growth : • Through better understanding of musical ideas. • Through the development of a more exalted taste in music. • Through a wider acquaintance with many types of music and a keener interest in music generally. Social values The well-planned instrumental music program offers definite social values. In a band and orchestra class, a child has many opportunities to develop good qualities by working with other boys and girls. Becoming aware of his place in a group-effort and learning to carry his share of responsibility will make the child more self-reliant. He may find that cooperating becomes a pleasure when the goal is producing music that he enjoys. He is likely to become less self-centered when he learns to recognize and appreciate the skill and importance of others. Through playing he has an opportunity to gain status in the family and among his class- mates. Self-expression The sense of personal achievement that comes from playing an instrument may lead to greater self-confidence. For some children an all-absorbing activity, such as music may be, brings relief from tension. Playing an instrument fills a definite need for some children who otherwise have difficulty in expressing themselves. Academic benefits The challenge of musical ideas will some- times stimulate a child to quick reactions, and may offer opportunities for him to discover new ideas and facts on his own initiative. His enthusiasm for music may lead Instrumental Music in Elementary School 155 him toward better organization in his music study, and this may carry over into his approach to his academic work. His desire to play an instrument may be the very thing to stimulate the improvement of his classroom work, so that he may be permitted to engage in and enjoy his band or orchestra ex- perience. Future study The elementary instrumental music program should also prepare a child for future music study, if that is his desire. The development of technic and musicianship leads to a basis for more advanced work. The discovery of other related interests gives him a broader view- point of his place in the musical picture. If he is interested in continuing his instrumental study, the school music program should provide him with guidance toward a sound plan of ad- vanced study. Immediate goals The greatest obligation of the elementary instrumental music program toward the child is to provide him with opportunities for enjoyable and profitable use of his music — now! Many opportunities for per- formance should be provided. These opportunities may come in the music class, through general school assembly programs, and in his homeroom. In addition, he should be encouraged to use his musical ability in other ways — in club meetings, in church and Sunday School, in Scout work and best of all, in the home. ORGANIZING THE BAND AND ORCHESTRA IN THE ELEMENTARY SCHOOL Survey of One of the first steps the instrumental music resources teacher should take is to survey the school from the standpoint of musical resources, possibilities, and needs. Close cooperation with the school principal is essential; and discussion with him concerning the various aspects of the school situation, such as equipment, schedule, etc., will be most wise. After surveying the needs of the school, the instrumental music teacher should plan suitable schedules with the principal and classroom teachers, keeping in mind the convenience of 156 Music in the Public Schools students, teachers, and the general school program. Schedules should be set up at the beginning of the year and followed by all concerned throughout the year. Who should study Classes in instrumental music should be instrumental available to all children who are mature music enough to succeed in group-study of an instrument. As a usual thing, children are not ready for class instruction in instrumental music before the fourth grade in school. Some schools use the plan of be- ginning string players at the third or fourth grade level and wind players a year later. This practice may be justified for several reasons: • Violins and cellos are available in small sizes and small children can be fitted with the correct size. • The development of technique on stringed instruments is usually considered to be slower than on the wind instru- ments. • Players of wind instruments sometimes need to wait for their development in the matter of permanent teeth, size of hands, length of arms, etc. Selecting students The procedure for selecting band and for classes orchestra students might follow this plan: • Check classrooms for interested students. Test students for musical aptitude, and if possible observe their responses to directors given during the test. (See bibliography for lists of tests.) Talk with the parent and child concerning a suitable instru- ment, plans for practice, obtaining an instrument, respon- sibilities of parent and student to attain success. Consult the principal and homeroom teacher concerning the educational maturity of the child, his readiness for the extra responsibility of music study, and the possibilities for his success in the study of an instrument. The qualities which help a child to be successful in his regular school work also help him toward success in the instrumental Instrumental Music in Elementary School 157 music class — sustained span of attention, good coordination, and ability to understand and follow directions. If the child is aware of music — if he has a good sense of pitch, a well developed response to rhythm, and a keen interest in learning to play — he is fairly certain to succeed on any instrument. As a rule a child will do better on an instrument of his own choice than on one chosen for him. ADMINISTRATION OF INSTRUMENTAL MUSIC CLASSES Classes to be The classes to be organized will depend upon organized the needs and resources of the school-com- munity. If the situation is a beginning one and one where students are without an instrumental music back- ground, the only classes needed at first are beginning classes. A combination of band, orchestra, and social instruments gives variety to the classroom music. 158 Music in the Public Schools Plan of One plan of instruction places all of the strings instruction together, all of the winds in one class, and the percussion in a separate group. The combined instrument class has much to recommend it over the individual instrument class: • It is more economical for the school. • It gives the student a broader knowledge of instruments. • It is more stimulating to the students. • It leads more quickly to full band and orchestra work. Elementary band As soon as the players attain the neces- and orchestra sary skill, the elementary school band and orchestra should be formed by combining the more advanced groups of players. Whenever possible, players should remain with their own elementary grade-level; they should not be absorbed into junior high school or high school groups because of the instrumentation requirements of those groups. Small ensembles As the music program develops, small en- sembles should be formed for the following reasons : • To offer challenge to the more advanced and the gifted students. • To develop the musical ability of students by giving them the responsibility of supporting a part without help. • To provide small ensembles for variety on programs, or to play when band or orchestra cannot easily be used. Scheduling instru- Arranging a satisfactory schedule for mental classes band and orchestra classes is not an easy thing to do. However, the right schedule for every school, within the school day, can be worked out if careful planning is a part of the school picture. In some schools, the services of the instrumental music teacher are available every day, thus a regular period for various musical activities can be set up. In other systems, the instru- mental music teacher works in several schools and can reach each one on a limited schedule only. Instrumental Music in Elementary School 159 In an effort to maintain a balance in the school curriculum, the State Department of Public Instruction has ruled that no child should miss an academic class recitation more than one period per week in order to participate in extracurricular ac- tivities. Staggered schedule Some school principals and classroom teachers favor a sliding schedule for the instrumental classes. Such a plan arranges the band and orches- tra classes at a different hour each time they meet, within a specified period (four or six weeks). Set schedule A set schedule is much more easily followed by both pupil and teacher. Playing in small ensemble gives invaluable experience. \ 'u/^'>-y^/ 4 160 Music in the Public Schools How to arrive at To arrive at a good schedule, every aspect a good schedule of the situation must be taken into con- sideration — the child, his homeroom situ- ation, the classroom teacher, the instrumental music teacher, and the total school program. A plan of class One school uses the following plan to ar- organization range a schedule for band and orchestra classes : • The instrumental teacher lists the music students according to instrumental classes and homerooms. He furnishes the principal with a copy of this list. • The principal, with his total school schedule and the list of instrumental classes before him, selects convenient periods for each class. • The principal consults the instrumental music teacher con- cerning time available for this particular school. • The principal also checks with the classroom teacher to be sure that there is no conflict which cannot be adjusted. • Schedules are then set up by the principal and the instru- mental teacher. All instrumental A common practice in larger schools is to students placed place all students studying instrumental in one section music in one section. The teacher of this section of a grade arranges her work around the instrumental schedule. This type of scheduling re- sults in a minimum number of teachers having to adjust to the instrumental schedule. HINTS FOR INSTRUMENTAL TEACHERS Teach the child to take care of his own instrument. Plan the lessons so that the child enjoys each one. Plan the practice material so that the child has a clear idea of what to practice. Take into consideration the manner in which children work, and give them material which they will practice. Instrumental Music in Elementary School 161 • End the lesson on a happy note. • Make use of the playing ability of the child as early as possible and as often as needed for stimulating him to do his best work. • Always remember that the child is interested in immediate goals which might be outside the realm of music, such as: (1) He is eager for applause; (2) He enjoys pleasant association with the teacher; and (3) He desires status with his classmates and In the home. Be sure that he receives these gratifications while he is making progress in musical development. TYPES OF PERFORMANCES Public performance stimulates student progress. The fol- lowing is a list of possible opportunities for performance : • Instrumental music class. • Homeroom. Small groups can be effective if the music is carefully selected. (Prepare instrumental students to be ~ able to play selections in "Instrumental Horizons", so that they are able to play accompaniments to songs in the State- adopted series.) • Music programs and incidental music for the general school assembly. • Demonstrations of instruments by advanced students in their own and in other classrooms. • Serenades in the hall. These are especially effective a* the holiday season. • P. T. A. meetings. Trips to other schools, playing in large groups formed by combining groups from several schools. • Appearances before civic and community clubs. • Festival programs. 162 Music in the Public Schools MATERIALS AND EQUIPMENT FOR INSTRUMENTAL MUSIC CLASS • Music. • A room with good lighting, good ventilation, and ample floor space for the arrangement of classes. • Chairs of proper height. • Music racks. • Chalkboard, chalk, erasers, and staffliner. • Posture and fingering charts for various instruments. • A piano tuned to correct pitch. A-440. • Convenient storage space for equipment, music, and school- ovv^ned instruments. • School-owned instruments according to the needs of the school. In a beginning program basic instruments (violins, flutes, clarinets, cornets, trumpets) may be of first importance. As the program develops, instruments to improve the balance of the band and orchestra (drums, bells, violas, cellos, basses, baritones, French horns, etc.) may be needed. School-owned instruments are usually rented to students for a period of one semester with opportunity of renewal. The parents should be encouraged to provide an instrument as soon as the child has proven an aptitude for it, BOND FOR SCHOOL OWNED INSTRUMENTS School , 19 I, , hereby acknowledge the receipt from the School of the following property: Instrument (maker number Accessories which are loaned to me upon the following conditions, to which I fully subscribe : 1. This property was received in condition and I agree to return it in the same condition allowing for reasonable wear and deprecia- tion. Instrumental Music in Elementary School 163 2. It is to be returned at a time agreed upon when loaned; in no event later than the last week of the current semester. ( Date to be returned ) 3. I agree to carry out a program of instruction and practice in the use of this instrument which will be satisfactory to the instructor in charge. 4. I agree to assist in all functions undertaken by the band or orchestra where my services are required. Pupil In consideration of the school lending the above instruments to my child, I hereby agree to see that the instrument is properly cared for, and re- turned as agreed upon above. In case of loss or destruction of the instru- ment, while in the possession of my child, I further agree to pay the School the cost of said instrument. Date , 19 Parent of above child I hereby approve the loan of this instrument. Instructor Recommended Materials For Instrumental Classes String Class Methods Church and Dykema. Church and Dykema Modern Orchestra Series Bk. I. Birchard. Dasch-Bennett. The Aeolian String Ensemble Method. Fitz- Simons. Fischel-Bennett. Gamble's Class Method for Strings. (Bk. I — Elementary, Bk. II — Intermediate, Bk. Ill — Advanced). Gamble. Harris, Burrows Ahearn. Young America at the Violin. Birchard. Herfurth. A Tune a Day. Bk. I, II, III) . Boston Music. C. Fischer. Jones, Dasch, Krone. Strings from the Start. (Vol. I). Skornicka and Moehlmann. Boosey and Hawkes Instrumental Course for Strings. Boosey. Waller. Waller String Cla^s Method. Kjos. Supplementary String Materials Johnson. First String Ensemble. Fischer. Maddy. Symphonic String Course. Kjos. -Giddings. Willis Instrumental Quartet Repertoire. Willis. Preston. Belwin String Orchestra Folio. Belwin. 164 Music in the Public Schools Orchestra Materials DeLamater. Progress Orchestra Folio. Rubank. Herfurth. A Tune a Day Orchestra Folio. Boston Music. Instru'inental Horizons. (May be used as: solo, en- semble, orchestra with or without vocal groups. Material selection from New Music Horizo7is, Bks. I through VI). Silver. Our Easy Orchestra Folio. Fischer. Isaac, Achievement Orchestra Folio. Fischer. Activity Orchestra Folio. Fischer. Watters. Our Jmiior Symphony Orchestra Folio. Fischer. Our Own Orchestra Folio. Fischer. Band Methods Cheyette-Salzman. 3-Way Method. Leeds. Metcalf. Short-Cut Band Method. Fillmore. Paulson. Play Right Aumy. Pro-Art. Skornika-Bergeim. Boosey and Hawkes Band Method. Boosey. Smith- Yoder-Bachman. Smith-Yoder-Bachman Ensemble Band Method. Kjos. Taylor. Easy Steps to the Band. Mills. Van Deusen, et al. Rubank Elementary Band Course. Rubank. Weber. Behvin Elementary Band Method. Belwin. Supplementary Band Materials Beeler-Herfurth. My First Band Book. Hansen. Buchtel. Hear That Band. Mills. -___ Melody Time. Kjos. First Semester Band Book. Kjos. Second Semester Band Book. Kjos. Chenette. Our First Band. Folio. Rubank. Church-Dykema. Modern Band Training. Bk. I, II. Birchard. Davis. All-Melody Band Folio. Rubank. Harold-Bennett. Bennett Band Book I. Fillmore. Whistler-Hummel. First Steps to Band Playing. Rubank. Paving the Way. Rubank. Solo and Ensemble Band Folio. Rubank. Instrumental Music in Elementary School 165 RECOMMENDED BOOKS FOR INSTRUMENTAL MUSIC TEACHERS Brand. Selmer Band Instrument Repairing Manmd. Selmer. Goldman. Band Betterment. Fischer. Hindsley. Band Attention. Gamble. Nermann. Instrumental Music in the Public Schools. Ditson. Paul Rolland. Suggested String Syllabus for AnnuM Achieve- ment Examinatiofis. American String Teachers' Association. Band and Orchestra Handbook. Pan-American. Prescott-Chidester. Getting Results ivith School Band. Fischer- Schmitt. Sylvan Donald Ward. The Instrumental Director's Handbook. Rubank. Conn. Hoiv to Care For Your histruynent. Conn. Many interesting and informative facts about instruments may be learned by making them. GENERAL MUSIC CLASS IN THE JUNIOR HIGH SCHOOL In the 8-4 plan of school organization the classroom teacher is responsible for the music with the help of the music specialist. Function of The 6-3-3 plan of organization with its depart- the music mentalized curriculum makes a two-fold demand specialist on the music specialist. She serves the subject teacher in an effort to enrich her work. She also is asked to teach a general music class, which offers pupils a variety of musical experiences. The unit The most satisfactory avenue of approach to the of work general music class is the unit of work. It offers limitless opportunities for stimulation of class participation through such activities as panel discussion, playing social instruments, part singing, listening to recorded music, dramatizations, field trips, and correlations with allied interest. The theory and techniques of music, such as reading the score and technical information about music, should develop as out- growths of the activities of the unit. General Music Class in Junior High School 167 Any material, unit, or activity is acceptable, provided the students acquire greater knowledge, develop better skills, and achieve finer appreciations through this work. The greater assets of the unit type of teaching are the en- couragement of the student's curiosity by allowing him to ex- plore and develop his own projects, and the appeal to a wide variety of interests. In addition, the resources of the entire community can be studied and used in numerous ways. Examples of The following are outlines of units which units of work have stimulated student interest and par- ticipation. UNITS UNIT I— NOTES ON THE MUSIC-MAKERS The aim of this unit was to motivate students to listen to good radio and television programs. A teacher tells the story. "I wish to introduce my students to some of the people they will hear and see. Each topic we discussed could be a unit in itself, so it is very hard to narrow it down into one unit. We had no text so we gathered our informa- tion from many sources. Most of this was done by the students themselves. Our best sources were: "Keyboard Jr." magazines Old "Life" magazines (an excellent source) "Time" magazines "New York Times" Concert programs "Words and Music" (sent out by RCA) Person or program being discussed "These programs and artists were very generous with any available material; and to the delight of the students, they were very willing to send autographed photographs. We made interesting notebooks filled with each student's outside work. "After learning interesting events about the musician's life in a general way, we: • Listened to, compared voices and learned to recognize different artists. • Read plots of operas from which particular arias were taken. • Studied composers' lives. • Did creative dancing to some of the orchestral music. • Listened to and discussed weekly programs. 168 Music in the Public Schools "From the many recordings heard we chose a list with which we became more familiar. We heard these many times and were able to identify them at the close of the unit study. We also learned to identify pictures of musicians studied. "The result of this unit was amazing and very interesting. It created individual interest and initiative, competitive spirit and a good background for listening and enjoyment. "Sources of material are unlimited. The following is a general outline I followed for our study: I. METROPOLITAN OPERA In an old issue of Life magazine we found an article entitled "Back- stage at The Met." II. VOCALISTS A. Sopranos Lucia Albanese Rose Bampton Eileen Farrell ( BT ) Kirsten Flagstad Barbara Gibson (BT) Mildred Miller (BT) Lotte Lehman (MO) Dorothy Mayner (BT) Patrice Munsel (MO) Keyboard Jr., Nov. '52) B. Mezzo-Sopranos Rise Stephens -^- _ (BT) Gladys Swarthout ( BT ) C. Tenors Jussi Bjoerling (BT) Richard Crooks Mario Lanza John McCormack Lauritz Melchoir (MO)(H) D. Baritones Robert Merrill (H) John Charles Thomas E. Basses Ezio Pinza (H) Jarmilla Novetna (MO) Lily Pons (BT) Nadine Conner (FS) Eleanor Steber (FS) Roberta Peters (FS) Maggie Teyte Helen Traubel (MO) Dorothy Kirsten (MO) Rosa Ponselle Blanche Thebom (MO) James Melton (BT) Jan Pearce ( MO ) Set Svanholm _.(M0) Ferruccio Tagliavini (BT) Richard Tucker (FS) Lawrence Tibbett Leonard Warren (MO) Italo Tajo III. SYMPHONY ORCHESTRAS AND CONDUCTORS Boston Symphony Boston Pops Chicago Symphony NBC Symphony Philadelphia Orchestra Philharmonic-Symphony of N. Y. RCA Victor Symphony Indianapolis Symphony Minneapolis Symphony North Carolina Symphony General Music Class in Junior High School 169 Conductors Sir Thomas Beecham Leonard Bernstein Arthur Fiedler Pierre Monteux Eugene Ormandy Fritz Reiner Arthur Rodzinski Ensembles Fred Waring Robert Shaw Chorale Leopold Stokowski Igor Stravinsky Arturo Toscanini Charles Munch Benjamin Swalin Thor Johnson Trapp Family Choir IV. INSTRUMENTALISTS A. Cellists Pable Casals B. Pianists Robert Casadesus (BT) Alexander Brailowsky Myra Hess Vladimir Horowitz C. Violinists Jascha Heifetz (BT) Fritz Kreisler Gregor Piatigorsky Jose Iturbi Wanda Landowska Arthur Rubinstein First Piano Quartet -(H) Yehudi Menuhin Nathan Milstein V. GOOD LISTENING ON RADIO AND TV Bell Telephone Hour Firestone Hour Metropolitan Opera Broadcast Boston Pops Orchestra NBC Symphony Omnibus on TV Railroad Hour Toast of the Town CODE FOR MAILING ADDRESSES (BT)— Bell Telephone Program— NBC, RCA Bldg., New York, N. Y. (FS)— Firestone Program— NBC, RCA Bldg., New York, N. Y. (MO) — Metropolitan Opera, New York, N. Y. (H) — Hollywood, California UNIT II— AMERICAN MUSIC The abundance of music that is American was instilled with a hope that founded a new world, a spirit that gained our independence, the toil that built a nation, ideas of millions of people who made America their home and the influences of the African and the Indian. Many peoples, many ideas, many customs went into the making of American music for the many needs in the lives of versatile Americans. The living phrases of this music, how the people lived and the ideas they had, are inseparable from the music. Children study the orchestra by modeling the instruments in clay. Music of The general music class includes these living phases of Colonial American music. To sing an old hymn without the knowledge America and appreciation of a way of life that was part of the hymn makes this music void of educational values. The crew of the Pinta chanted the old Christian hymn, Te Deum, over and over again when land was sighted. The hymns of the Pilgrims were "lined out" by a leader who sang one phrase at a time and in turn this phrase was repeated by the congregation. To sing these hymns as they were sung by the Pilgrims is a re- warding experience in the general music class. The slow moving meter can be compared with the meter of our present day hymns. Old Hundred as sung by the Pilgrims, can be compared to the Doxology (MAS, p. 28) as sung today. The ideas of the Pilgrims and the modern day Americans are reflected in the hymns. Other hymns of colonial days were: York"^ (original two- part from Bay Psalm Book, SA#116) ; Dundee (NASB, p. 38) ; Who Is This Ma7i?* (This tune is used by Bach in St. John's Passion. An SAB arrangement is found in CA, p. 75) (For other hymns, refer to various books for hymns dated in the 17th century.) Some of the early folk-songs and ballads were: The Riddle (FBFS, p. 25); / Am a Poor Wavering Stranger (SA, p. 8); In Good Old Colony Times (MAS, p. 29) ; 0, No John (NASB, p. 38) ; Billy Boy (NASB, p. 86) ; Foggy, Foggy, Dew (FBFS, p. 32) ; The Wraggle-T aggie Gypsies, 0! (FBFS, p. 70) ; Lord Lovell (NASB, p. 87) ; Barbara Allen (NASB, p. 50). How the Indian used music in all phases of his life is a resourceful study in music. The singing of the chants, his dancing, and the making and 'Songs with asterisk are arranged in two or three parts and are suitable for concert. A few are simple four-part arrangements. General Music Glass in Junior High School 171 playing of his instruments cannot be separated from the study of his music A study of the melodic line, range, rhythm, tonality, and mode can con- tribute to the understanding of both the notation and the Indian way of life. These observations can be compared with other music of Colonial America. (Refer unit 2, Haienonis, MAS; also refer to Songs and Stories of the American Indians, Gale and Krones; refer to chapter. Music in the Inte- grated Program, this bulletin, for information and other references.) War The songs of each of our wars have been typical of the times Songs in which they were written. Some of the songs of the Revolution seem rather grim to us today, but they were truly a product of the "times." Chester (NASB, p. 63) was the Over There of the Revolution. The soldiers sang this song more than any other. Yankee Doodle (MAS, p. 40) was also very popular, although it is not truly an American song. Some of the Civil War songs were sad and reflected human unhappiness, whereas others were purely spirited morale boosters for a discouraged army. The First World War gave us songs with a dash of bravado. The Am- erican was sure of himself. This War was a war that was "to end all wars." But within a very short time the Second World War became a reality. The songs composed were generally more serious in nature. The old bravado became a serious concern for America and a way of life. All of these war songs reflect the spirit of the Nation in times of emergency. Comparison of the form, meter, rhythmic patterns, tonality and text can give meaning to music notation. Some other Revolutionary War songs are: Hail Columbia (MAS, p. 32), Johnny Has Gone for a Soldier (FBFS, p. 69; also Burl Ives Recordings) ; The Boston Tea Tax (Burl Ives Recordings, EFF) ; The Battle of the Kegs (Burl Ives Recordings) ; and The Battle of Saratoga (Burl Ives Recordings, E.B.F. Co.) Some of the Civil War songs are: Dixie (MAS, p. 42); When Johnny Com,es Marching Home (MAS, p. 112) ; Battle Hymn of the Republic and John Brown's Body (FBFS, p. 12) ; Drafted into the Army (MAS, p. 14) ; Tenting on the Old Camp Ground (NASB, p. 109) ; Tramp, Tramp, Tramp (NASB, p. 108) ; and The Battle Cry of Freedom (NASB, p. 106). The First World War songs were of "popular" type: Over There; K-K-K-Katy; Where Do We Go From Here, Boys?; Oh, How I Hate to Get Up in the Morning; How You Gonna Keep 'em Down on the Farm?; Goodbye Broadway, Hello France; Keep the Home Fires Burning; There's A Long, Long Trail, and others. The Second World War songs were the type of God Bless America; We Did It Before, We Can Do It Again; The White Cliffs of Dover; Waltzing Matiida (Australian) ; March Lorraine (Africa) ; The Whiffenpoof Song (England). (These songs are taken from sheet music publications.) It should be noted that our songs are not centered around America and the American soldier entirely, but that the wide influences of the world appear in the songs that the soldier sang. 172 Music in the Public Schools Sea chanties "Music while you work" was discovered long ago when and work songs men first saw that rhythm and unity of action helped perform a task with greater swiftness and efficiency. The rhythms of the chanty expedited work on the sailing ships — the hauling of ropes, the turning of winches, the heaving of the anchor. The railroad man lifted his rails, drove his spikes, and laid his ties to tunes whose music and words grew out of the work itself. The cowboy songs served the pur- poses of the cowboy. He sang to calm the I'estless "dogies"; he sang to "keep himself company" on the lonely prairie; and he sang with the "gang" around a campfire at night. The farmer and the slave soothed their "aching backs" with the songs they knew. A Nation was built in this manner — with music! To separate the songs from their rhythmic setting (action) is to lose the meaning of the music itself. Creative rhythms should be worked out with the class, in small groups, or in "unison" to these songs. Some of these chanties and work songs are: The Rio Grande (SA, p. 2) ; Case%j Jones (FBFS, p. 142) ; Haul Atvay Joe- (SA, p. 120) ; Blmv the Man Down'' (CA, p. 121) ; Lowlands Away''- (CA, p. 123) ; Green Groiv the mishes (SA#16) ; Night Herding Song (MAS, p. 83) ; Old Chishohn TraiV (Bk. 8, p. 134) ; Pick-A-Bule of Cotton (FBAS, p. 128) ; The Boll Weevil (MAS, p. 67) ; Whoopee Ti Yi Yo, Git Along Little Dogies (NASB, p. 35) ; Peanut Pickin' Song (NASB, p. 30) ; The Old Ark A-Moverin' Along'' (NASB, p. 29) ; Cotton Needs A-Pickin' (SA, p. 28) ; John Henry (FBFS, p. 170) ; Paddy Works on the Erie (FBFS, p. 150) ; I Been Wukkin' on de Railroad (FBFS, p. 148). Music for The young people of Plymouth and some of the Southern recreation Colonies were not without entertainment. Quilting parties, corn-huskings, play-parties — all made use of the old songs and old games known and enjoyed in England. This recreational music can be an active part of the general music class. To do these simple play-party songs and games not only contributes to the appi'eciation and knowledge of an era, but the youth of today can make this music a healthy part of his own recreational and social activities. The music that inspired the folk dance, square dance, Virginia reel, minuet, waltz, two-step, etc., compared with the bee-bop, jitter-bug, rumba, and mambo of today is a vital study in the general music class. This music is truly a part of our musical heritage. The exploration and comparison of the rhythms underlying these dances can lead to the understanding of musical notation and the "pulse" of the times. The simple melody, form, rhythm and harmony of the old dances compared with fleeting melody, the intricate rhythm, and the changing harmony of the music of today provides an exciting study and has extensive musical values. Some of the play-party songs and folk dances are: Shuckin' of the Corn (SA#13) ; Sweetheart Out A-Hunting (SA#6) ; Coin' to Boston (SA#15) ; Rosa-becka-lina or Lead Her Up and Down (MAS, p. 89) ; Shoo Fly, Don't Bother Mel (MAS, p. 56); Carrie Will Yoii Marry Me?'' (CA, p. 49). (Refer to Publication No. 279, Physical Education, for other folk dances, General Music Class in Junior High School 173 square dances and social dances.) The general music class is the best source for the modei-n dances. The African A great philosophy is found in the Negro spirituals and influence folk songs. No matter what were the troubles of the Negro, his song usually had a happy ending. Many of these songs, even the spirituals, were sung by the Negro as he went about his work on the plantation. The Negro lent his African heritage to his music. Rhythm was the African's method of communication, whether it was war, feast, marriage, or death. When he came to America, the Negro introduced syncopation to American music. Jazz was born out of this rhythmic idea. It may be said the "beat" of the jungle thus found its way into American music. Ragtime, blues and jazz followed the Negro folk song and spiritual. These forms are definitely of Negro origin. The Negro influence had its "sway" in the more serious music. The orchestras of Paul Whiteman, Ted Lewis, and Guy Lombardo are living examples. George Gershwin is the typical composer that came under the spell. The Negro brought to America many of the major characteristics that made American music. Some of the Negro folk songs and spirituals are: Gom' Home On a Cloud*; Lord, I Want To Be a Christian* ; Listen to the Lamhs* (SA, pp. 25, 26, 27) ; Dese Bones* (MAS, p. 50) ; De Creation (MAS, p. 60) ; Siuing Low, Sweet Chariot* (MAS, p. 62) ; Nobody Knows the Trouble I See* (MAS, p. 63) ; Go Down, Moses* (MAS, p. 66) ; Little David Plaij on Your Harp* (MAS, p. 71). Some other types of music of Negro origin and influence are: Alexander's Ragtime Band (Berlin) ; St. Louis Blues; Memphis Blues (W. C. Handy) ; I Got Rhythm (Gershwin) ; Star Dust (Carmichael) ; and others. (For a short survey on the history of jazz, see BFAS, pp. 12-17.) American Stephen Foster provided one of the summits of American composers music. Time has proved the worth of his simple songs with and their their beautiful melodies. They are accepted without apology music or reservation today. (Most all song books include some of these songs. The Univei'sity of Pittsburgh, Pittsburgh, Pennsylvania, provides some free material for students who are studying Stephen Foster.) Edward MacDoivell was at his best a poet of nature. He caught the moods of the forest, the fields, and the ocean in his music. Indian Suite for orchestra (Mercury MB 40009) and Woodland Sketches (Decca DL-4059) are representative of MacDowell's music. George Gershwin represents the link between Tin Pan Alley and the concert stage. He has several well known Broadway successes. Jazz idiom is applied to serious music in Rhapsody in Blue (Cap-303) and An American in Paris (Col ML-4026). His jazz-opera can be heard in Porgy and Bess, excerpts (V LM 1124). 174 Music in the Public Schools Aaron Copland has written music for radio, cinema, and theatre, as well as large concert forms. He has made use of jazz idioms in Billy the Kid (Col ML2167) ; Rodeo, excerpts (V LM 32) ; A Lincoln Portrait (Col ML 2042); and El Salon Mexico (Col M12203). Other composers associated with popular music are Gould, Berlin, Car- michael, Friml, Kern, Porter, Rodgers, Hammerstein, and Romberg. Songbooks. Boni and Lloyd. Fireside Book of Favorite American Songs. 1952. Simon and Schuster. Fireside Book of Folk Songs. 1947. Simon and Schuster. Heller. Choral Adventures. 1951. Hall and McCreary. Oberndorfers. New American Song Book. Hall and McCreary. Wilson, Leeder and Gee. Music Americans Sing. 1949. Silver. • Zanzig. Singing Am,erica. 1941. Birchard. Reading References. Burk. Amenca^s Musical Heritage. 1942. Laidlaw. Handy. A Treasury of the Blues. 1949. Simon and Schuster. Howard. Our American Music. 1946. Crowell. Hunt and Wilson. Sing and Dance. 1945. Hall and McCreary. Kinscella. History Sings. 1948. University. Spaeth. A History of Popular Music in America. 1948. Random House. Suggested Recordings. Colonial Dances and Religions, Folk-Fp-252 Music of the Pilgrims, L954, Click and Keefe, 1790 Broadway, New York Songs of the Colonies, Ives, Historical America In Song, Album 1, Encyclopedia Britannica Songs of the Revolution, Ives, Historical America in Song, Album 2, Encyclopedia Britannica Sea chanties and work songs Music for recreation Songs of the Sea, Ives, Historical America in Song, Album 4, Encyclopedia Britannica Get on Board, Folkways FP 28 Sea Chanties, Victor LM 1168 Americana, Mercury 20008 Anthology of American Music-folk Ballads, Folkways FP 251 American Old Time Dances, Imperial 518 Square Dances, Old Fashioned Dances, Coral 56075 (Shepherd) Old Time Barn Dances, Period Recording 508 (Foss) Waltzes, Kostelanetz, Col Ml 4546 Fox Trots, Anthony, Capital L 258 Mamba, Campo, Secco 2 Samba, Coleman, Victor LPM 3009 General Music Class in Junior High School 175 Rhumba, Rhapsody, Caney, Decca 5072 Tango, Castilians, Decca 5410 Xavier Cugat Dance Parade, Col. CL 6077 History of Dances, (Folk) 11 volumes Jazz Classics, Armstrong, Brunswick 58004 (Music by the dance orchestras of Whiteman, Miller, Lombardo, Brown, Anthony, Armstrong, Lopez, Dorseys, Goodman provide further recording resources.) The Negro Spirituals, Anderson, Victor LM 110 influence Swing Low, Sweet Chariot, Robeson, Columbia ML 2038 Spirituals, Popular Favorites, Robeson, Columbia, ML 4105 ^ Dry Bones, Delta Rhythm Boys, Victor LPM 3085 Basie's Best, Basie, Brunswick 58019 Ink Spots Songs, Ink Spots, Decca 5056 Bye Bye Blues, Paul, Capital H 346 (Recordings of the jazz composers, Berlin, Carmichael, Gershwin, Kern, Porter, Rodgers, and Anderson are other sources of the Negro influence.) Teaching Suggestions. Class Discuss historical implications in each period studied. Disciission Discuss and compare the social customs of each period with the customs now. Discuss the musical customs of each period with the customs now. Discuss the social and musical progress made in America during each period. How does music reflect this progress? _, What types of musical entertainment do we have today that they did not have in Colonial America and other periods of time? Discuss how the Indian used music. Was music more an integrated part of his every day living than the way we use music today? Why? What valuable lessons about people do we learn through the study of the Nation's war songs? How valuable were the sea chanties and work songs in building a nation? How would working to music fit into the world about us today? Discuss and compare the Indian and Negro music. Did both of these races use music as part of their every day living? Why did the Negro music become great? Why did the Indian music become almost obscure? Discuss the origin of jazz music. Discuss and compare the social customs during the time of jazz music with other periods. 176 Music in the Public Schools Group Projects Find and report to class information that culminates the discussions. (Some general sources of information are hymn books, history books, other library sources, standard music literature, newspaper clippings, maga- zines, interviews with authorities in the field.) How many business firms, restaurants, hotels, hospitals, schools and other concerns use music as people work, read, dine, etc? What kind of music do they use? Teams or groups demonstrate or teach certain of the dances for and to the class. The differences in these dances and the social customs back of them are im- portant. Represent the rhythmic styles through rhythm instrument performances of such music as the Indian, the modern dances and compare them. Use instrumental performances when possible for music appropriate for such ensembles. Develop a program as a total culmination of the unit. Theory Comparison of form, rhythmic patterns and tonal patterns, meter and tempo, harmony, mode are a part of the study in all sub-units. Group projects may be a se- mester assignment in one of these sub-areas. Occa- sional reports to the class will contribute to the total understanding of the music. Social implications are reflected in these findings. Music exists only because of social values. UNIT III. POPULAR MUSIC AND THE CLASSICS Popular music is so-called because it is quickly and easily understood. Its simple tunes and foot-tapping rhythms appeal to the fancy of the moment, and though quickly learned may be as quickly forgotten. In recent years, "tunesmiths" have been searching the classics for melodies which can be adapted to the popular style. Many of their adapta- tions have unwittingly acquainted the public with some of the great com- positions of music literature. The theme from Beethoven's Fifth Symphony became a symbol for the "V for Victory" of World War II, and caused many to listen to the entire symphony with new appreciation. Many of Tchai- kovsky's works have found outstanding success as popular love songs. Even such masters as Mozart, Chopin and Mendelssohn have found new listeners through an introduction to their music via popular avenues. The following are combinations of popular tunes which have their origin in music written by the masters. Through a study of both the popular and legitimate compositions, students will become acquainted with some of the great music of the ages in a "painless" fashion. It is hoped that this unit will result in the following: General Music Class in Junior High School 177 • Greater enjoyment of music of permanent value. • Study of music in relation to the folkways and mores of the era in which it was composed. • Practice in reading and writing musical notation. • Exploration of the various facets of copyright laws, including the work of ASCAP. • An informal study of jazz. Popular Song Writers Borrow from the Classics. Example 1. I'm Always Chasing Rainbows — McCarty and Carrol Record— Perry Como VEPB 3035 (45) ; VLPM 3035 (78) Fantasie Impromptu C# Minor — Chopin Theme for I'm Always Chasing Rainbows is almost duplicated Record— VERA 194; VLM 87 Example 2. Till the End of Time— Kay & Mossman Record— Perry Como 20-3299 (78) ; 472887 (45) Polonaise No. 6 in A*" op. 53 — Chopin Record— Vll-88 (78) ; VER 32 (45) ; VLM 87 (33) These boys play excerpts from Haydn's Toy Symphony. 178 Music in the Public Schools Example 3. Stranger in Paradise from Kismet — Wright-Forrest Record— Tony Martin V20-5535 (78) V475535 (45) Song of Polovetski Maidens from Prince Igor — Borodin Record— V 10-4212 (78) V 49-4212 (45) Example 4. Here — Cochran & Grant Record— Tony Martin V 20-5665 (78) ; V 47-5665 (45) Caro Nome — Rigoletto — Verdi Record— V LM 1104 Arrangers for Dance Bands Borrow from the Classics. Example 1. Anvil Chorus — Glenn Miller Orchestra Record— V47-0034 Anvil Chorus — II Trovatore — Verdi Record— V ERB 7045 (45) ; V LRM 7045 (33) Example 2. Going Home RecordI: Glenn Miller V 42-0108 (78) ; V EPBT 3025 (45) New World Symphony #5 — Dvorak (2nd Movement) Record: V LM 1778 (45) Ebcample 3. Grieg Piano Concerto — Freddie Martin Record V 20-1775 (78) V 47-3100 (45) Concerto in A Minor op. 16 — Grieg. Record— V ERB 16 (45) V LM 1018 (33) Example 4. Song of India — Tommy Dorsey. Record— V 25523 (78) ; V 472876 (45) Song of India — Sadko — Rimsky-Korsakof . Record— V 4303 (78) ; V ERA 20 (45) Suggested Class Activities • Collect other popular and classical arrangements. • Study musical forms, such as symphony, concerto. Copy music themes. Study ways composers and arrangers borrow, augment, invert or other- wise change music. • Become familiar with the difference between the work of composers and arrangers. • Give class an opportunity to review their studies of earlier grades, through reference to Polonaise — Chopin. Bk. 6. General Music Class in Junior High School 179 The Masters Borrow from Folk Music. Example 1. Handel used the Italian folk tune "In Bethlehem," Christmas, Its Carols, Customs and Legends, p. 71, Hall & McCreary Co., as his theme for the "Pastoral Symphony" in The Messiah. The Italian folk song, "When Christ Was Born", OSW, Bk. 6, was used as an idea for "He Shall Feed His Flock" from The Messiah. Example 2. Brahms preserved many German folk melodies, such as his "Lullaby" — AS Bk. 7. Example 3. Humperdinck used German folk tunes in "Brother, Come and Dance", OSW, Bk. 5, and in "Susie Little Susie", NMH, Bk. 3, from Hansel and Gretel. Example 4. Tchaikovsky used "Song of the Volga Boatman," AS, Bk. 8, in his "Andante Cantabile" Record— LCT 1049 Example 5. Kurt Weil used "Down in the Valley", AS, Bk. 7, for his opera "Down in the Valley." Record— V LM 16. (33 rpm) Suggested Class Activities Perform folk songs which composers have used in symphonies, etc. Discover elaborate arrangements made by a composer from a simple folk tune. Listen to and play the accompaniments with which Brahms and others used to enrich the folk tunes. The Masters Borrow from Each Other. Example 1. Sullivan, Sir Arthur: Pirates of Penzance, chorus "Come Friends, Who Plow the Sea" was taken from Verdi's "Anvil Chorus" from II Trovatore ; The American version of the same tune is "Hail, Hail, The Gang's All Here!" Example 2. Beethoven: Opening theme from the Piano Sonato in F Minor, No. 2 Record — V LM 1821 borrowed "The Manheim Rocket" (arpegg^io motive) from the finale of Mozart's G Minor Symphony which originally came from the Piano Sonata in F Minor by C.P.E. Bach. 180 Music in the Public Schools Suggested Activities • Discover how composers borrow from each other. • Discover words, as in Sullivan's chorus which admit the material was borrowed from another source. • Discover how the same tonal patterns may be used over and over in the style of several composers, as is done by Alec Templeton or Victor Borge. Advertisers Borrow from the Masters and Folk Sources to Create Theme Songs. Example 1. "On the Trail" from Grand Canyon Suite — Grofe, Phillip Morris program Example 2. ^ "2nd Movement"- — Tchaikovsky 6th Symphony Example 3. "Valse Triste" — Sibelius, I Love a Mystery Example 4. "John Peel", Pepsi Cola program Example 5. "Sweet Betsy from Pike" (Folk song). Pall Mall cigarette program Example 6. "Allouette" (Folk song), Alka-Seltzer program Suggested Activities • Listen for familiar tunes in radio and TV advertisements. • Write "jingles" for ads. • Listen to discover importance of thematic music in movies, TV and radio stories. Record: Movie Themes, Rainbow 701; Love Themes from Motion Pictures, Decca 5413. • Make a study of motives used in Wagner's operas {The Mentor, Ginn 1940.) • Select mood music or music for conditioning to be used during school activities, cafeteria, etc. • Arrange background music for poetry-drama, in language arts classes. (All records used are RCA Victor unless otherwise indicated) Students provide accompaniment for classroom singing. UNIT IV. EXTRA MUSIC EXPERIENCES FOR RICHER LIVING (A teacher describes her procedures.) In the regular school program, many opportunities are open for the stu- dent to enjoy and use music; and in the junior high school, music can enrich his total life. A teacher describes how she used music to enrich the lives of her students : "We want the student to discern, enjoy, appreciate and assimilate all that he sees, hears and reads. We want him to discover the world outside of the classroom and the many stimulating experiences that are available to him. "We urge the students to bring in interesting items for our shelves and bulletin boards; musical current events, magazine feature stories, cartoons, model musical instruments, or anything that will be of interest to the class. "We listen, look, and discuss the better radio and television programs. We list current programs and special features, including soloists or favorite selections that will be played. "We guide the selection of books and records for our music library, and encourage our students to browse through its offerings. One of the 182 Music in the Public Schools best of the current magazines to help us in this is Keyboard Jr. It is up-to-date on most of the happenings in the music world, including radio and television programs, concerts, etc. It is not expensive and many teachers see that each student has one. "We work actively in the community in many phases of music. We attend recitals and concerts, including record concerts at the local library if facilities are available. We support the high school choral and instru- mental groups and attend festivals where they perform. "An occasional movie will have sufficient merit musically that we attend as a group. We check the ratings of movies through the church magazines that may run them, through Parents' Magazine, through the local paper which runs reviews gleaned from many sources (such as the Christian Science Monitor, usually well-balanced and unprejudiced, Variety, Time, Newsweek), and through several education magazines." This type of teaching in the junior high school may increase the teacher's work, but if well-handled it will immeasurably increase the students' enjoyment and participation in music, and may actually lessen the teacher's responsibilities as the students take the initiative. UNIT V. MUSIC AND HISTORY IN NORTH CAROLINA North Carolina is the first state mentioned in John Tasker Howard's Our American Music. The first European music heard on the coasts of North America north of Spanish territory "was the French psalmody sung by t3ie Huguenots on the Carolina Coast in 1572, before their brief settle- ment was wiped out by the Spaniards." The Indians in America must have had music long before the arrival of the white man, however, and the Negro slaves who were brought from Africa to North America in 1619 must have used music for an outlet for their emotions; but these two groups will be considered later. The next records of music in America are in connection with the Pil- grims at Plymouth. The South seemed to be predominantly religious. Even though there is no mention of music. North Carolina can boast of the first Protestant religious service in the New World. This was on Sunday, August 13, 1587, at Manteo. The story of this group is superbly illustrated by North Carolina's Paul Green in his drama "The Lost Colony" which has been performed through the summer months at Manteo since 1937. Green selected music from 16th century English folk songs, ballads, carols, hymns and dances. Special effects and dances were composed by another North Carolinian, Lamar Stringfield. Adeline McCall of Chapel Hill also helped with the musical arrangements. Some of the tunes used in the drama are "Green Sleeves," "Good Ale", "The Mermaid", and "Agincourt". All of the music can be found in The Lost Colony Song Book published by Carl Fischer, N. Y. General Music Class in Junior High School 183 During the 1700's there were two outstanding groups in the State. The large landowners with white or Negro servants, known as planters, and the small landowner who worked the land himself. In this period were the big plantation houses with their beautiful furniture, china, silver and rooms lighted and warmed by huge fireplaces. The men wore powdered wigs with long hair, bright colored coats, tight fitting trousers, long stockings, and shoes with silver buckles. The women and daughters dressed elaborately in silks and satin with hoops in the skirts, big hats with feathers and plumes, and decorated with rings, bracelets, and other ornaments. These elegantly dressed colonists were the people who danced the stately minuet and the Virginia Reel, while the Negro slaves furnished music on the fiddle. Accordingly, the Negroes must have contributed their share of music (folk song and spiritual) to the world of the white master. Since folk and Negro music will be considered later, mention will now be made of some of the hymn tunes that were used by the colonists. There seems to have been no hymn writing in this State, but in South Carolina was published Charles Wesley's "Jesus, Lover of My Soul", and Isaac Watts in New England wrote the popular hymn "0 God, Our Help in Ages Past." Other hymns that may have been popular in North Carolina and in other states are: How Tedious and Tasteless the Hours How Firm a Foundation "Old Hundredth," the Doxology A Mighty Fortress When I Survey the Wondrous Cross In the meantime the Germans and Scotch-Irish in and around Pennsyl- vania began moving southward into Piedmont North Carolina in search of cheaper land. The Germans included Lutherans, Moravians and members of the Reformed Church. These people were interested in education and religion, whereas the eastern settlers formed the lawmaking bodies of the State. These settlers of the Piedmont were further advanced in music and education than were the coast dwellers. Poor transportation kept the two sections apart — not only regionally but in tastes and customs. Jealousy developed because the East always had a majority in the legislature, passing laws which favored the Eastern section. There was quarreling for many years, slowing the progress of the colony. After the French and Indian Wars, England began forcing more and stricter laws on its colony. The people in North Carolina and the other colonies became more united in action against the Mother Country and soon came the Revolution. Just before the Revolution people in the West were thinking of advancing farther west. This story is dramatized in Kermit Hunter's "Horn in the West" which was given for the first time in 1952 at Boone, North Carolina. The choreographer was Harry Coble and the music was composed and arranged by Tom Nichols, both of North Carolina. In the play the main character has a favorite song called "Black is the Color of My True Love's Hair." Blending with this tune are other folk songs, dances, ballads and Indian music. 184 Music in the Public Schools There was still no music coming from the State at the time of the war, so it must be assumed that the songs of other states were adopted by our soldiers and their families at home. Some of these were parodies of Old English tunes: "Yankee Doodle," "The Liberty Song" by John Dickinson, "Chester" by William Billings. These songs were on everyone's lips. A revival swept through the south in the early 1800's when many "Halleluia" songs and spirituals were born. One of the most primitive and most popular of the revival spirituals was "Old Ship of Zion," written by Reverend Samuel Houser of North Carolina. During the war of 1812 came our national Anthem, "The Star Spangled Banner" by Francis Scott Key, "Hail Columbia", and "Ye Parliament of England." "Believe Me If All Those Endearing Young Charms", and "Wearing of the Green" were two popular Irish songs of this period. Still another outdoor pageant of which North Carolina can be proud is also a product of Kermit Hunter. His "Unto These Hills", presented each summer in Mountainside Theater at Cherokee Reservation, tells of the triumphs and tragedy of a once proud Cherokee Indian. The composer is not a North Carolinian but is a real Cherokee from Oklahoma- — Jack Frederick Kilpatrick. The drama is sponsored by a non-profit organization chartered by the State. After the Revolution the new country progressed by leaps and bounds. Opera houses were opened and musical societies were formed. But North Carolina was still in the background. Publishing houses in the South could not compete with those in the North, so they had to close. People were singing the folk songs from the homeland. Where dancing was frowned upon, singing games such as "Skip to My Lou" and "Pop! Goes the Weasel", were played without accompaniment. The Scotch-Irish in the South went west as did the Germans of Pennsylvania. The Negro Minstrels became popular with Dan Emmett, the composer and author of "Dixie", and others. "Bound for the Promised Land" shows the optimism of the pioneers, and Stephen Foster's songs expressed the sentiment of the Nation. North Carolina was becoming education conscious. The University of North Carolina was established in 1793 at Chapel Hill as a training school for State teachers. The capitol of the State was moved from New Bern to Raleigh. The State, however, made progress slowly. Trade was poor, population dropped off, and there was little opportunity for education. The old jealousies between the East and West were still alive. At the beginning of the Civil War trade broke off with the North. Im- mediately the Southern publishing companies jumped at the chance of business. Of all the songs published, there is mention of only one published in North Carolina. This was entitled "Rifle Guards Quickstep" by T. S. Whitaker and dedicated to the Wilmington Rifle Guards. Goldsboro, Raleigh, Charlotte, and Wilmington were listed as having dealers in sheet music. General Music Class in Junior High School 185 Harry B. Macarthy, Irishman, was well known as a Confederate poet. He traveled throughout the South giving concerts. His most famous poem, "The Bonnie Blue Flag", was the national anthem of the Confederates during the war. Macarthy also wrote "Maryland, My Maryland." "God Save the South" by Maryland's George H. Miles, with music similar to "God Save the King" was the best attempt toward a national hymn and should be remembered both for its poetry and for its distin- guished musical setting. John Hill Hewitt was the head of the "Stars and Bars". He not only was a song writer but a composer, dramatist, poet, historian and publisher, his greatest success being with the theater. There is no mention of his performances in North Carolina, but they were given regularly in South Carolina and Virginia. According to Dr. Bill Irvin Wiley in his "The Life of Johnny Reb" the following songs were the most popular with the Confederate Soldiers: Home Sweet Home, Lorene, Annie of the Vale, Sweet Evelina, Lilly Dale, The Girl I Left Behind Me, Bell Brandon, Her Bright Smile Haunts Me Still, Listen to the Mockingbird, Just Before the Battle Mother, Dixie, The Bonnie Blue Flag, and Maryland, My Maryland. The years following the Civil War until 1900 were years of progress in all phases of living except music. Music was taught in the public schools in Boston in 1838, and by 1900 orchestras were developing in the Midwest; but in North Carolina no music teachers were available when there were attempts to introduce music into the school systems. Boys were ashamed to be seen with band instruments. By 1912 a certain amount of music was given the grade teachers studying at North Carolina College for Women in Greensboro, but this was not required by school authorities. In the North music was required in every grade in the school system. To awaken the music interest of the people and schools of North Carolina, Dr. Wade Brown — then head of the music department at Woman's College — in 1919 launched the idea of a contest for the students in high school who studied piano. Letters were sent to principals and piano teachers inviting them to send a pianist to represent their school. The first State contest was held on May 7, 1920 at the North Carolina College for Women. There were thirteen participants. From this small beginning the contest grew, until today there are few schools in North Carolina which have not gained stimulus through the efforts of Dr. Brown and his followers. In 1950 a State Supervisor of Music was added to the staff of the State Department of Public Instruction. In 1953 the Legislature voted to add six consultants to the staff in an effort to speed the in-service training pro- gram of teachers in the music area. At present music is being taught in every school in North Carolina, as an indispensable part of the curriculum, enriching the lives of all children. 186 Music in the Public Schools unit vi. folk music of the south Indian music has made a lasting impression on our musical heritage. The Indians had a song for every occasion and insisted upon singing it only at the appropriate time. Their scale is similar to the black keys on the piano and they sing with a vibrato that makes the tone sound oflF key. Each tribe had its own songs and their own types of songs. The instruments common to all tribes of North America were flutes, whistles, drums and rattles. Indian melodies have been a valuable source for modern composers. According to John Tasker Howard, the songs of the Negroes in America "form one of the choicest groups of folk songs found in this country." Negro music has made a lasting impression on American life; it had its influence on the minstrel songs, ragtime and popular music through the blues and jazz. The spirituals of the Negro slaves are now performed in concert halls and are graciously received. Negro singing was introduced to other sections of America when a group from Nashville, Tennessee, went on a tour of the country in 1871. From that time on these traveling- groups were popular, and Negro music has been the basis of many com- positions. In a study of North Carolina folk music, it is best to include the area covering Kentucky, Tennessee and Virginia. This Appalachian Mountain area furnishes good examples of the preservation of folk melodies resulting from the isolation of the people due to a lack of roads and ti'ansportation. The origin of many of the songs goes back to English ballads, as is noted in Cecil Sharp's English Folk So7igs from the Southern Appalachians. Among them are "Barbara Allen," "The Maid Freed from the Gallows," "Lord Randal" and others. Unlike the Indians, these mountaineers might vary a song every time it is sung. The dulcimer was used for accompani- ment. Dorothy Scarborough stayed among these people I'eproducing their songs by means of a typewriter and dictaphone. While in North Carolina she resided in Asheville where she worked with Lamar Lunsford — the North Carolinian who was bringing the native folk arts to the foreground through a highly successful festival of singing and square dancing each year. Another similar festival is held annually at the University of North Caro- lina. Lamar Stringfield was the first promoter of such a program. Stringfield and Lunsford have made a collection of folk songs entitled 30 and 1 Folk Songs from the Southern Mountains, Carl Fischer, Inc., N. Y. Another book including twelve ballads from this area, "Songs of the Hill Folk," G. Schirmer, Inc., N. Y., has been completed by John Jacob Niles. All of the songs collected by Dorothy Scarborough are in A Song Catcher in Southerji Mountains published by the Columbia University Press. This book would be a great help in teaching these folk songs, for it includes stories as well as the melodies of the songs. General Music Class in Junior High School 187 Bibliography Howard, John Tasker, Our American Music, Thomas Crowell Co., N. Y. 1944 Newsome and Lefler, The Growth of North Carolina, World Book Co. New York, N. Y. 1947 Boni, Margaret Bradford, The Fireside Book of Favorite American Songs, University of North Carolina Press, Chapel Hill, N. C. Harwell, Richard B., Confederate Music, University of North Carolina Press, Chapel Hill, N. C. Walser, Richard Gaither, North Carolina Poetry, Garrett and Massie Inc., Richmond, Va. Griffin, Frances, Journal and Sentiyiel Sunday Morning, July 13, 1947. 'Wilt Thou Have Music? Hark!' Winston-Salem, N. C. Brown, Wade R., The North Carolina State High School Music Contest- Festival, Woman's College of University of North Carolina, Greens- boro, N. C. Eichhorn, Hermene Warlick; Mathis, Wilkerson, North Carolina Composers, Woman's College, University of North Carolina, Greensboro, N. C, 1945 Ewen, David, Songs of America, Ziff-Davis Pub. Co. 1947 Kinscella, Hazel, History Sings, Thomas Y. Crowell Co., N. Y. Norden, Laura Howell, Just About Music, Wilmington Printing Co., 1848, Wilmington, N. C. Reis, Claire, Composers in Atnerica, MacMillan Co., N. Y. 1947 Scarborough, Dorothy, A Song Catcher in Southern Mountains, Columbia University Press, N. Y. 1937 The Federal Writers; Project of the Federal Works Agency: Work Projects Administration, North Carolina, University of North Carolina Press, Chapel Hill, N. C. 1939 188 Music in the Public Schools SOCIAL INSTRUMENTS IN THE JUNIOR HIGH SCHOOL MUSIC PROGRAM The use of the social instruments at the junior high school level presents a challenge and genuine enjoyment to the student. Social instruments might be used to supplement singing, reading, rhythmic and other performance activities in and out of the General Music Class. Uses of Many students have shown new enthusiasm for social class participation after having played an auto- instruments harp or tonette; therefore, the use of these instruments should not be limited to the music room. Students should be encouraged to use them in homeroom activities, class meetings, devotionals, rainy day lunch periods and school programs. Opportunity should be given for in- dividuals to practice before and after school hours. In some cases the student might be allowed to practice the instrument at home. For further information concerning social instruments, refer to the chapter "Social Instruments" in this bulletin. Good singing experiences may be shared with civic organizations. VOCAL MUSIC IN SENIOR HIGH SCHOOL Administration The Department of Superintendents of the of vocal music National Education Association recom- mends the inclusion of music in the cur- riculum on an equal basis with other subjects. An adequate program of high school music should include credit equivalent to that given other basic subjects. Credit Vocal classes meeting five periods per week should receive one-half unit credit per year. Classes meeting two or three periods per week should receive one-fourth unit credit. All credit for music classes is on a laboratory basis (one- half unit for five meetings per week). It is recommended that a maximum of two units of credit be given toward the grad- uation requirement. Any credit earned beyond two units would be added beyond the requirements for graduation. General Assembly Singing. For many students, music in the assembly program will be their only contact with music during their high school days. 190 Music in the Public Schools Assembly music should not be limited to occasional chapel h>ymns, for music has a much more important contribution to make. Not only should there be some good music in every assembly, but several programs each year should be devoted exclusively to music. To be effective, assembly singing must be very much alive and music provide a joyful experience for the students. En- thusiasm must prevail during the general group singing. Unison songs A good beginning for group singing is through use of familiar unison songs. Many directors, in their anxiety to obtain perfect harmony, are prone to over- look the beauty and power of unison singing. Since there are no complicated separate parts to worry him, it is probably the only singing in which the musically untrained student com- pletely loses himself in his feeling for only the song itself. Also, for the unsure, adolescent voice, it is good to have him match tones with and feel the support of all other voices. Sometimes, in order to accommodate the ranges of both girls' and boys' voices, it may be necessary to transpose a song a few tones up or down from the original key. Barbershop The simple old "barber shop" method, using harmony familiar tunes, provides quite satisfying group harmony with a minimum of training, talent, and preparation on the part of the student. This is almost a guaranteed, immediate success if the director uses a reasonable approach. Perhaps the easiest beginning would be with a round. It is easy to work out a chant-type harmony based on only two chords for one or more harmony parts. For example, in the song, "Row, Row, Row Your Boat", the harmony may be chanted throughout. in the following manner: so so so mi fa mi do do 80 After the pitches have been established, the words "row, row, row" may be substituted for the syllables. The director may assign to any section in the auditorium (whether boys or girls or both) any one of these parts regardless of voice types. He Vocal Music in Senior High School 191 can give them added security in their new part by moving his hand up or down in the direction in which the voice moves. These same notes may be used for many songs other than rounds, but in most of these it is necessary to hsten for chord changes. For example, the song "Hail, Hail, the Gang's All Here", may be harmonized in the following manner: C i[j:jJiJi'j:j^ ^ 4^ « E C i f 5 m ^^^ f Some other songs require three chords for harmonization, and the bass sings "fa" in addition to "do" and "so". (Refer to "Barber Shop Harmonies" bulletin published by State Depart- ment of Public Instruction.) Other easy There are many other types of simple harmony harmony which can be used, such as descants, rounds, and thirds. In some songs, phrase or one-word chants throughout the song are possible. Part-singing Good part-singing by notes should also be in- with chorus eluded if possible. One way to make part- singing effective is to seat the students by voice parts. If a student does not know which voice part he can sing, a one-minute private test will give enough information to assign him a part for assembly singing. Teachers should also be assigned parts and participate in the singing. Members of the glee clubs and choir should be assigned seats where their training can be used to strengthen the singing of the student body. 192 Music in the Public Schools Materials The success of assembly singing depends in part upon the type of material available for the teacher to use. Some books should contain a variety of song material. Books should be attractive and durable, and not the "left-over" books which are not usable elsewhere. Song slides which con- tain both words and music are valuable, as is the use of the opaque projector. Remember, however, that a darkened audi- torium will create problems for the song leader. (See biblio- graphy for materials.) The use of a cumulative repertory of memorized songs, which was begun in the grade school and has continued through all the general music classes, will provide a rich background of material for use in the assembly program. Student assistance To increase interest in group singing, in planning in- one director allowed each class to choose creases interest the songs for one period. To her sur- prise, it accomplished, besides the ori- ginal purpose, several other important goals as well. It definitely increased the repertory of the group, and added more variety than was formerly the case with the selection being made by one person. In choosing their songs, the classes had practiced certain of them with student directors. Sometimes, for the group singing in the auditorium, these students would offer their serv- ices as director so that the regular director might accompany the singing on the piano. The students then felt a definite re- sponsibility for the success of the "sing", since they had become co-directors and co-sponsors with the teachers. Inspirational The most important factors to insure good leadership participation and performance are a well- planned program and an inspired leader. When these two factors are present, the music assembly will have real educational value and will be a rewarding experience to all who participate. Without them, the assembly may be a failure. General Choral Groups. Purpose These groups should be open to any student who can carry a tune with others. The music educator's mission is to lead as large a number of boys and girls as possible into the joy of singing good choral literature. The primary Vocal Music in Senior High School 193 function of the general chorus is not to train singers for the more selective groups. The general chorus provides a place for all, and should offer a program which will stand on its own merit. If only one choral organization is to be scheduled, the general chorus should be the first offering. Part-singing Unison singing is valuable, but a major portion of the time of the group should be devoted to part-singing. Two — (SA) and three-part (SSA) songs should be used for the girls and three — (TBB) and four-part (TTBB) songs for the boys, if they are divided into separate choruses. In the case of mixed choruses, the use of three — (SAB) to eight-part (SSAATTBB) songs will depend upon the ability and experience of the group. Voice testing Each boy's voice must be carefully watched and tested often enough to make sure that he is singing the part that is best for the development of his voice. Careful attention should be given to the boy whose voice is still changing. It is probably safer to place him on the tenor part, where he is less likely to mistreat his voice than assigned an alto part. It may be necessary to re-write voice parts for a few voices with limited range. Once or twice each year is suf- ficient for testing girls' voices. Challenge Voices should be classified carefully. Ap- students propriate part music of suitable range and difficulty should be selected. Do not under- estimate the ability of the chorus ! Young people like a real challenge. The singing of music that is too easy and trivial in content becomes a chore, and interest soon wanes. Choice of Probably the greatest single factor in the suc- material cess of musical organizations is in the choice of material. In the study of music, the music itself is a great educator. Good vocal music must be worthy both musically and poetically, with the music and the words welded into an artistic whole. 194 Music in the Public Schools Specific points A study of worthwhile music Kterature, with of study emphasis on good tone quality, true intona- tion, clear enunciation, correct pronunciation, and clearly defined accent, rhythm, and phrasing is essential to the development of musicianship. In each rehearsal of the choral group let everyone have at least one satisfying musical experience. It is through the sheer joy of singing a beautiful piece of music that a genuine ap- preciation of and love for good music will develop. Selective Choral Groups. Selection of Membership in selective choral groups is by singers election on the part of the student and selection by the teacher, based on an audition or "try- out". These groups provide special musical opportunities for talented students. The director must have the privilege of select- ing the group of voices which gives promise of forming a group that will do thoroughly artistic and beautiful singing. Consideration should be given to the following qualities when members are chosen for the selective groups : • Ability to sing an easy song rhythmically and expressively, with a pleasing quality of voice. • Range and blending quality of the voice. • Ability to carry a voice part independently, while other parts are being sung. • Ability to read music of moderate difficulty, employing diatonic progressions. • Attitude of the student regarding school activities in gen- eral. A more serious type of student is needed for the selective groups — one with integrity and a sense of responsibility. In choosing between character and an exceptional voice for a selected group, choose character. Since the right mental attitude is so important, mental stability is more important than vocal ability. 'Vocal Music in Senior High School 1^5 Placement of No student should be kept on a part unsuited to voices his voice simply because he can sing it and his voice is needed to improve the balance of parts. The aim of choral organizations should be to protect and to develop correctly the voices of the students, even if it means sometimes sacrificing the balance of the ensemble. Students should understand from the beginning the basis for classification of voices and should learn to listen for voice quality as well as range. Glee clubs Glee clubs can afford a different type of ex- perience from the general chorus. Whenever possible, the groups should be organized separately as a Boys' or a Girls' Glee Club. There is an abundance of material for both organizations, ranging from songs of merriment, songs with "barber-shop" harmonies, to the beautiful songs of Brahms for ladies' voices and Schubert for mens' voices. Good musical performance is worth advertising. 196 Music in the Public Schools The a cappella The a cappella choir, in its original meaning, choir refers to singing which is done unaccompa- nied. However, as generally used now, it sig- nifies a choir of mixed voices which does some singing with accompaniment, but most of its singing without accompaniment. A true accompaniment adds color, harmonic interest, range and dynamic power to a vocal composition. An accompaniment which merely duplicates the voice parts does not enhance a vocal per- formance. Unaccompanied singing approaches a pure means for vocal expression. It requires careful and complete use of the voice, because the voice alone must carry the burden of expression. It requires more careful listening on the part of the singer. The a cappella choir can draw upon a wealth of beautiful music especially suited to its needs. A large percentage of this music comes from the literature of the church. Singing in such a choir often yields high moments of spiritual response which are above and beyond anything else in a child's experience. In rehearsing the a cappella choir, perfect intonation must be the goal, but do not make that an end in itself. The important thing is for the various voice parts to be in tune with one an- other. Flatting can often be avoided by raising the pitch a half tone. The same number should be rehearsed in different keys, and the key which best suits the choir as a whole should be chosen for performance. Small vocal Boys' quartet or octet, girls' trio or sextet, ensembles mixed quartet, and madrigal groups may be considered under this heading. These groups, more or less informally organized, are very valuable in the musical life of the school and should be heartily encouraged. They provide opportunities for students of superior talent, and serve as a means for developing student leadership. These groups should do much of their rehearsing independently of any fac- ulty member. Many such small groups should be organized from the larger choral groups, with the teacher giving advice and assistance. A try-out for membership in the vocal ensembles is desirable, but it should be tactfully done. The test should be even more exacting than the one used for choosing members of the selec- Vocal Music in Senior High School 197 tive choral groups. A natural blend of voices is necessary for these small ensembles, and the instructor should hear the voices together before making the final selection. Also important is the selection of students who will work well together. They should be serious in the task, and know when to work and when to play. The small ensemble groups should be scheduled to rehearse during school time at least twice each week. Rehearsals at the homes of the members should be encouraged. These groups can be stimulated to accomplish something defi- nite by appearances in the school assembly, at school social events, before community, church, and club groups, on radio and television, etc. Occasionally time may be taken from chorus and choir rehearsals for these groups to present numbers that they have been practicing. (See bibhography for suggested materials.) Class Voice Lessons. The voice class should be planned to groom the better voices of the chorus — those students who are interested in developing their voices to the finest degree possible. If the class is not too large, one class period can be divided between two groups. No credit is usually given for this study. Operettas, Pageants and Opera. Social values and Operettas and pageants have certain so- integrating effects cial values and integrating effects that make them important types of projects, especially where musical interest is at a low ebb and where something needs to be done to build morale. As a project, they are capable of welding into unity the various interests of the entire school. Students of widely varying talents gain valuable experience through the dramatic elements, the stage-setting, lighting, costuming, advertising, and business management of such a project, in addition to the musical and dramatic experi- ences of the performers and the pleasure of the audience. Some- times the production of an operetta or pageant will do much toward building interest in the musical activities of the school and toward uniting the efforts of the entire school toward one common end. 198 Music in the Public Schools The operetta If the libretto and music of an operetta are of acceptable quality, the operetta has legitimate educational values. The selection of a suitable operetta is a major responsibility for the director and should be regarded as such — there is much poor material in this field. Considerable thought and attention given to the selection of the operetta, and time spent in making the preliminary plans will reward the music teacher when the performance date arrives. The entire production of an operetta need not cover a period of more than five or six weeks. Efficient organization and di- rection eliminates tedious rehearsals. Let many students learn the solos. If there is to be more than one performance, have an alternate cast for the second performance so that many students may gain experience. Perhaps one of the greatest disadvantages in producing an operetta stems from the fact that, too often, the few who are singing solo roles are glorified at the expense of the majority who sing only in the chorus. Of course, the director may change this situation somewhat through more careful selection and also by his treatment of the production all the way through. Consid- ering the fact that the study of such a production is often unrelated to the total school program, the sacrifices required seem almost too great for the reward of the final achievement. No one thing seems important enough to take precedence over and to disrupt all other school activities. The pageant The pageant, for several reasons, is a more practical type of production in most school systems. It can be equally as entertaining as the operetta if planned carefully. The only limitation on the number of per- formers is the amount of space available for the performance. The entire content may be an outgrowth of the total school program and may be organized to use the type of talent available locally. It offers superb opportunities for creative work and integration with other subjects. It may present historical events which have local significance. In this case the entire community may become vitally interested and cooperate with the school in every way possible to make the production successful. Vocal Music in Senior High School 199 The opera The average opera makes too great a demand upon the resources and talents of high school students. The field of opera may be seriously considered if good translations and carefully abridged editions that do not destroy the musical value of the work are available. Sometimes a travel- ing opera company (such as the Grass Roots Opera Company) may offer opportunity for a local group to sing choruses in their productions. Cantatas and Oratorios. The cantata The cantata has many of the better features of the operetta without its disadvantages. No time is required to prepare dialog, action, etc. The entire re- hearsal time is a matter of preparing the choral music, soloists and accompaniment, whether it be piano, organ, or orchestra. There is a wider range of selections in this field which are based upon worthwhile texts and good music. The organization needed for the production of a cantata is much simpler than that needed for an operetta. Because the music of the cantata is usually superior to that of the operetta, the singing of the cantata is more often a lasting musical experience to the students. The oratorio Most standard oratorios are beyond the ability of high school voices; however, they may be done effectively if a carefully abridged edition is available. Soloists from the community may be used for the demanding solo parts. The combination of expert soloists and fine choral work by the high school group will make for a musically rewarding experience for both the chorus and the audience. 200 Music in the Public Schools Suggested Books for Further Reading On High School Vocal Music Barber Shop Harmonies. 1954. State Department of Public Instruction. Beech. The PreparaMon and Presefitation of the Operetta. Cain. Choral Music and Its Practice. Rev. ed. 1942. Witmark. Christy. Glee Club ayid Chorus. 1940. G. Schirmer. Class Voice Materials Coward. Choral Technique and Interpretation. 1941. Novello. Dengler, Clyde R. Read This and Sing, Student's Book. 1944. Presser. Read This and Sing, Teacher's Manual. 1945. Presser, Dykema and Gehrkens. High School Music. 1941. Birchard. Fields, Victor. The Singer's Glossary. 1952. Boston Music. Finn. The Art of the Choral Conductor. 1939. Birchard. Granville, C. N The Granville Vocal Study Plan. 1940. Remick. Jones and Wilb^/n. More Power to the Shoivman. Rev. ed. 1939, Gamble. Kester, George. Your Singing Potential. 1954. William-Frederick. Pierce, Anne E., and liiebling, Estelle. Class Lessons ifi Singing. 1937. Silver. Ross, Wm, Sing High Sing Low. 1948. Brown. Sunderman. Choral Organization and Administration. 1954. Belwin. __._..-.. , Lloyd. Some Techniques for Choral Success. 1952. Belwin. Taylor, Bernard U. Group Voice. 1936. G. Schirmer. Umfleet. School Operettas and Their Production. 1929. Birchard. Ward. Music Education for High Schools. 1941. American. Waring, Fred. Tone-Syllables, Words & Music, Inc. 1945. (Free) Wilson Music in the High School. 1941. Silver. Vocal Music in Senior High School 201 Suggested Music for Mixed Voices (SAB). Choral Program Series, Bk. M As Torrents in Summer M Behold That Star IV E Blue Tail Fly, The E Days of Youth (U. of Maine) E Dogies, The E Dona Nobis Pacem M Flow Gently Sweet Afton M Give Me Your Tired, Your Poor M Good Morrow, Gossip Joan E Hear My Prayer M In Bethlehem's Lowly Manger M Joshua Fit de Battle ob Jericho E Kentucky Babe M Little David, Play on Your Harp M Lord Is Gracious, The M Lord Is My Shepherd, The E Soldier, Soldier M When Jesus In The Garden M You'll Never Walk Alone arr. Wilson Elgar Spiritual, arr. Cunkle arr. Ryg Fenstad Cowboy song, arr. Treharne Traditional Spilman, arr. Cunkle Berlin, arr. Ringwald Fischer James Williams arr. Cain Geibel arr. Swift Hamblen Cain English Folk Song 17th century Rodgers, arr. Ringwald Silver Burdett H. Flammer Shawnee Press Belwin Carl Fischer Willis Hall & McCreary Shawnee Press Shawnee Press 0. Ditson G. Schirmer H. Flammer H. Flammer Edwin H. Morris Belwin Boosey & Hawkes H. Flammer H. Flammer G. Schirmer Shawnee Press (SATB) Choral Progratn Series, Bks. V and VI E Ave Maria M Battle Hymn of the Republic E Brother James' Air E David's Lamentation M For the Beauty of the Earth E From Lucern to Weggis On M God So Loved The World M Heavenly Light E His Name So Sweet M Jesus, Priceless Treasure E Kye Song of St. Bride arr. Wilson Arcadelt Steffe, arr. Ringwald arr. Jacob Billings Kocher, arr. Davis Swiss Folk Song John Stainer Kopylow, arr. Wilhousky Spiritual, arr. Johnson Bach, ed. Gray Clokey Silver Burdett C. C. Birchard Shawnee Press Oxford U. Press Carl Fischer Remick E. C. Schirmer G. Schirmer Carl Fischer Carl Fischer Pro-Art C. C. Birchard E—Easy M— Medium difficult 202 Music in the Public Schools M Lauda Anima M Let All Things Now Living M (SATB or 8 -part) Listen To The Lambs M Lo, How A Rose E'er Blooming M Madame Jeanette E Music, A Link With God E Noel E Old Abram Brown M Onward Christian Soldiers M Psalm 150 M So Dim With Tears E We Thank Thee, Lord Andrews Welsh, arr. Davis Spiritual, arr. Davis Praetorius, ed. Cain Murray Pohlmann Gavaert Britten Sullivan, arr. Simeone Franck M. Haydn, ed. Cain Bortniansky G. Schirmer E. C. Schirmer G. Schirmer Raymond A. Hoffman Carl Fischer Hall & McCreary Neil A. Kjos Boosey & Hawkes Shawnee Press C. C. Birchard Choral Art Neil A. Kjos Suggested Music for Treble Voices. Choral Program Series, Bk. I (SA) and Bk. II (SAA)- arr. Wilson pub. Silver Burdett M (SSA) M (SSA) M (Unis.) M (SSA) E (SA) M (SA) M (SA) M (SSA) M (Round) M (SSA) M (SSA) M (SSAA) M (SSA) M (SSA) M (SSAA) At Eventide It Shall Be Light By The Waters of Minnetonka Canticle of Peace, A Death of Trenar, The Gossip Joan Gracious Saviour Holy Spirit, Truth Divine I Heard A Forest Praying Ifca's Castle Gaul Lieurance Clokey Brahms English Folk Gluck Handel DeRose Czech., arr Aschenbrenner Mendelssohn Lehmann Lift Thine Eyes No Candle Was There and No Fire O, My Love Is Like A Red, Red Rose Oft In The Stilly Night Irish, arr Wilson So's I Can Write My Name When Love Is Kind Theo. Presser Theo. Presser C. C. Birchard Novello E. C. Schirmer H. W. Gray Remick Chappel Carl Fischer E. C. Schirmer Chappell Scotch, arr. Hall Galaxy Spiritual, arr. Cain English, arr. Hollis Carl Fischer H. Flammer Choral Press E—Easij M~Medium difficult Vocal Music in Senior High School 203 Suggested Music for Male ^^oices Choral Program Series, arr. Wilson Silver Burdett Bk. UI Men's CJet Together Lorenz Lorenz Songs Twice 55 Blue Book arr. Dykema C. C. Birchard for Male Voices M (TTBB) Blow, Trumpets, Blow James H. FitzSimons M (TTBB) Brothers, Sing On Grieg J. Fischer M (TTBB) Climbin' Up The Mountain arr. Smith Neil A. Kjos M (TTBB) De Animals A-Comin' arr. Bartholo- mew G. Schirmer M (TTBB) Down The Open Road Haney B. F. Wood M (TTBB) Heaven-Bound Soldier Wright, arr. Cain Choral Press M (TTBB) Kentucky Babe Geibel Edwin H. Morris M (TTBB) Let There Be Music Williams H. Flammer M (TTBB) Let Thy Mercies Come Also Unto Me Davis Boston E (TTBB) Old Nickodemus Davies Choral Press M (TTBB) Out of the East Gibb B. F. Wood :\i (TTBB) Praise We Sing To Thee Haydn, arr. Lubaas Neil A. Kjos M (TTEB) Serenade Ahlstrom G. Schirmer ^l (TTBB) Sleeping Lake, The Pfeil, arr. Wilhousky Carl Fischer M (TTBB) Stouthearted Men Romberg Harms M (TTBB) When Good Fellows Get Together Bullard 0. Ditson M (TTBB) Winter Song Bullard 0. Ditson M (TTB or TTBB) You'll Never Walk Alone Rodgers, arr Ringwald Shawnee Press E—Easy M— Medium difficult 204 Music in the Public Schools INSTRUMENTAL MUSIC IN THE SENIOR HIGH SCHOOL Administration of Instrumental Music. It is obvious that no statement can cover the many possible instrumental music programs. Each school must develop its own program according to its needs, the personnel available, the finances provided, and the philosophy of the administration. Each school should do what it can to develop an instrumental music program according to its own ability, starting v/ith a duo, a trio, or a quartet, if necessary. To help insure a successful instrumental music program, it is well to keep in mind adequate provision for the following : • Schedule — To reach a maximum number of students, a re- hearsal period that coniiicts least with other regularly The scientific approach to music proves rewarding. Instrumental Music in Senior High School 205 scheduled classes must be selected. Double section classes should be scheduled during the large performing group meetings to allow the largest possible number of students to attend. • Rehearsal Space — An allowance of eighteen square feet per instrumental performer is necessary. (An invaluable guide to space and equipment needs can be found in "Music Rooms and Equipment" Bulletin: M.E.N.C.) • Storage Space — This will depend upon the expected size of the instrumental groups, but it will be better if it is too large rather than too small. Include such items as shelves, lockers, cabinets, percussion cabinet, etc. • Budget — Adequate financial provision is most necessary if the program is to have any hope of success. • Equipment— A partial list includes : chairs, music stands, director's stand and podium, pianos, tuning bars, music and record filing cabinets, metronome, school-owned band and orchestra instruments for both elementary and high school use. The larger, less common instruments, such as the bass drum, cymbals, field drums, bass horns, bass clari- net, baritone, saxophone, bassoon, oboe, bass viol, cello, and viola, should be provided by the school. Sometimes the purchase of the more popular instruments, such as baritone horn, trombone, flute, etc., help the pupil who is not able to purchase his own instrument, but who has talent and interest in such pursuit. • Repairs and replacements — Adequate provisions for repairs and replacements will help insure the permanence of the instrumental music program. Beginning instru- It is recommended that instruction in in- mental classes struments begin in the elementary grades, or at least in the junior high school. Also, there will be students in the senior high school who want and need such instruction before being admitted to the band or orchestra. Such classes will probably need to be arranged after school hours. In some instances senior high school students may enter classes with junior high school students. No credit should be given at this level. ^/:3^^ttj/f An efFective Instrumental program should result in a superior performing organization. Orchestra credit The orchestra provides an excellent type of instrumental experience for all pupils who participate, and it is especially important for the oppor- tunity it offers to pupils who are interested in stringed instru- ments. Balance of instruments is important, for without it the organization is not as effective or as interesting, either to those who participate or to those who listen. Since there is such a wealth of fine literature available for the orchestra, emphasis should be placed on its use, as well as on good intonation, proper tone production and rhythmic stability, for these are essential to good ensemble playing and artistic interpretation. Credit for five rehearsals per week should be one unit per year; or one- half unit per year for three rehearsals per week. Levels of As soon as practicable, provision should be playing ability made for two levels of playing ability — a training orchestra and an advanced orches- tra. There will be new recruits to the training orchestra from the grammar or junior high school and from the instrumental classes. Admittance to the advanced orchestra should be by examination to insure both playing ability and good balance. The advanced orchestra should carry on the same type of work as the training orchestra, but on a higher level of perfection and finish in playing as well as in the difficulty of the material used. Band A band is generally easy to organize, due in part to its popular appeal and spectacular use in parades and at athletic events. However, in addition to a marching band, a concert band should be the goal of every high school which supports a good program of instrumental music. As soon as practicable, provision should be made for two levels of playing ability — a training band and an advanced band. There will be new recruits for the training band from the grammar or junior high school and from the instrumental Instrumental Music in Senior High School 207 classes. Admittance to the advanced band should be by exami- nation to insure both playing ability and good balance. The advanced band will carry on the same type of work as the training band, but on a higher level of perfection and finish in playing and in the difficulty of material used. Credit Credit should be one unit per year based on five re- hearsals per week, or one-half credit per year based on three rehearsals per week. For both the orchestra and the band, rehearsal time should be a regularly scheduled period in the school day. It is preferable that this period not conflict with too many other classes which have no alternative periods. Small instru- Included under this heading are such mental ensembles chamber music groups as the string quar- tet; string quintet; trio of violin, cello, and piano; or of violin, flute, and piano; or of two violins and piano ; woodwind ensembles of various combinations ; and brass ensembles, usually quartets of various combinations. As in the case of vocal ensembles, these groups are often more or less informally organized, but are very important in the musical life of the school and should be heartily encouraged. It is usually some of the superior players who gather in these small groups to play for their own pleasure, often meeting in their homes, and independently of any faculty help. "Free periods" should be scheduled when these ensembles can come to the instructor for help and for the teacher to note progress and to help them find more material for practice. The most capable of these groups should be stimulated to play in a singing as- sembly, and to participate in the district contests. Materials for Beginning Instrumental Classes Music Aptitude Tests 1. Pan-American Instruments. Conn. 2. Tilson-Gretch Musical Aptitude and Survey Blank. Gretsch. Note : The Pan-American test is better for the lower grades, because it is easier to understand ; it also provides for actual demonstration on various instruments. The Tilson-Gretsch is designed to more accurately test musical aptitude, but it needs more explanation by the monitor than is provided on the re- cordings for the test. 208 Music in the Public Schools Beginner's Methods (Strings) Bornoff's Finger Patterns. Fischer. Herfurth. A Tune A Day. Boston Music. Isaac, Merle. String Class Method. Cole. Waller. String Class Method. Kjos. Easy Steps to the Orchestra. Mills. Woodwind, Brass, Percussion Douglas. Belwin Band Builder. Belwin. Metcalf. Short Cut Band Method. Fischer. Taylor. Easy Steps to the Band. Mills. Weber. Behvin Elementary Band Method. Belwin. Smith-Yoder-Bachman Ensemble Band Method. Kjos. Suggestions to teachers and administrators The third and fourth grades are good for starting a string program. Interest is high at this level and testing can be helpful in making proper selection. A homogeneous grouping of instruments for beginning classes is better than mixing the instruments of the various instrument families. If the time of the teacher is limited, a heterogeneous grouping should be followed. It is better to wait until the fifth or sixth grade before start- ing or switching students to the larger instruments. The fifth and sixth grades are good for starting the wind and percussion instruments, although some will start in the fourth grade ; others will rather wait until the seventh grade or the junior high school. As the students progress, an orchestra should be formed (as well as smaller ensembles), so that performances may be stim- ulated for the home, the classroom, the school assembly, and other school and civic functions. A band with complete instrumentation is possible on the ele- mentary school level. The better players should become members of the orchestra, thus enlarging their field of musical experience, while the other band members develop more individual re- sponsibility and initiative. Instrumental Music in Senior High School 209 Through the secondary level, be it junior and senior high school or seventh through twelfth grade, there is a need to broaden the program, so that more students can find participa- tion at their own level. The materials for the orchestra and band will become more and more advanced, making small ensembles (which combine students of similar degree of attainment) of greater importance and usefulness to the individual and to the program. It is suggested that the Suggested String Syllabus for Annual Achievement Examination for violin, viola, cello and string bass be a guide toward a course of study for the stringed instru- ments. Copies of this syllabus may be procured from the A.S.T.A. Sources of useful Band and Orchestra Guide, wall charts materials showing instruments, posture, fingering, etc., also film strips showing instrumental techniques. Pan American. Posture and playing position charts for the stringed instru- ments. Chart showing the stages of construction of the violin, etc. Scherl and Roth, Inc. Graded music lists for band, orchestra, choir, string orchestra, soloists and ensembles. Also minimum standards for stringed instruments, and many additional publications. MENC. Graded music lists for stringed instruments, as well as many publications dealing with problems of string teaching. Of par- ticular importance is the "Suggested String Syllabus for Annual Achievement Examination" for violin, viola, cello, and string bass. A.S.T.A. The Interlochen List of Recommended Materials for Instru- mental Ensembles. National Music Camp. BIBLIOGRAPHY Normann. Instrumental Music in the Public Schools. Presser. An interesting volume for those preparing to teach music in the public schools ; for supervisors and teachers of instru- mental music in all educational institutions. Maddy. Instrumental Technique for Orchestra and Band. Willis. 210 Music in the Public Schools A most complete text, with additional appendices on the Dance Orchestra, The Repairing of Instruments, The Marching Band, and Playing Position and Fingering Charts for all instruments. Prescott-Chidester. Getting Results tvith School Bands. Fischer. This volume makes a definite contribution toward the solution of many of the problems involved in teaching instrumental music in the public schools. Equally useful for orchestra. Best, Clarence J. Music Room and Equipment. M.E.N.C. A most complete bulletin covering all types and needs and locations of music rooms, with sections on equipment, radio and other audio-visual aids, as well as floor plans, etc. Applied Music Study In the High School The widespread interest in applied music (the study of piano, violin, orchestral instruments, etc.), the general recognition of this study as a legitimate phase of secondary education, and the realization of the importance of the development of these tech- niques during the adolescent period, has resulted in the develop- ment of plans for accrediting the work as an integral part of the pupil's curriculum. Since few high schools can provide this instruction, the following plans are set up to enable the school Modern devices help us see as well as hear music performance. Instrumental Music in Senior High School 211 to give credit for properly supervised study in applied music carried on by pupils at their own expense and with private teachers. A. Regulatio?is Governing Credit. 1. The student registering for credit must be a regularly registered pupil of the high school. 2. Application for credit must be made on a blank form provided by the high school principal, (See Form A.) 3. The pupil must have two lessons of thirty minutes each per week, or one lesson of sixty minutes per week, throughout the school year. 4. The pupil must practice a minimum of six hours per week, keeping a record of it on a weekly report blank form which is certified by the parent to the teacher at each lesson. (See Form B.) 5. At the close of each grading period, the teacher will give the high school principal the pupil's grade on a report blank provided by the high school principal. (See Form C.) 6. The pupil must pass an exananation before credit for the work may be allowed. a. The application for this examination must be made not less than two weeks before the close of the school year on the form provided by the high school prin- cipal. (See Form D.) b. The examination must be given by a musician of good standing in the State who has been approved as an examiner by the State Department of Public Instruction. The examiner is to be engaged by the high school principal. c. A reasonable fee (not over $5.00) should be paid by the pupil for his examination. This fee is to be used - " only for the expenses of the examiner. 212 Music in the Public Schools d. The examiner must report the result of the examina- tion to the principal of the high school on a blank form provided for this purpose, and the principal will make the proper record on the pupil's report card. (See Form E.) e. The teacher of applied music is not permitted to be present at the pupil's examination. f. The examiner may grant the pupil — (1) One-half unit of credit for the year's satisfactory study, or (2) One-fourth unit, if the examiner considers that the pupil has accomplished much less than should be done in a year of study, or, (3) Deny the pupil any credit, if he considers the work done as unsatisfactory for high school credit. (4) Students earning a passing grade as a result of the National Guild of Piano Teacher examination shall earn credit without further examination provided that the examination is based on the equivalent of material listed m this bulletin. 7. Suggestive lists of materials in piano and violin for this study of applied music for credit will be found on the following pages of this bulletin. B. Forms for Report Blanks The following report forms will be needed for the ad- ministration of these plans for granting high school credit for the study of applied music under private teachers. As stated in the Regulations Governing Credit, these blanks are to be provided by the high school principal. It is not neces- sary that they be printed. Mimeographed blanks will be en- tirely satisfactory. In addition to these report blanks, it is very desirable that a copy of the Regulations Governing Credit be given each pupil of applied music who is applying for credit. The pupil should take this copy of the Regulations home so that the parents may know what is expected of the pupil, of the parent, and of the teacher of applied music. Instrumental Music in Senior High School 213 FORM A. Application for Applied Music Credit School Date We, the undersigned, hereby request that Pupil be permitted to study for credit the applied music subject herein named, subject to the regulations stated on the accompanying sheet. These regulations we have read and hereby accept. Applied music subject School year beginning Number of years previous study without high school credit-- Number of years previous study with high school credit Signed Pupil Parent Teacher FORM B. Applied Music Study Practice Record Card School Name Subiect Record minutes of practice each day, have a parent sign it, and take to your teacher each week when you have your lesson. Month Mon. Tiies. Wed. Thurs. Fin. Sat. Signature Parent's 1st week 2nd week 3rd week 4th week 5th week ( Semester \ 'ear in High School T eacher 214 Music in the Public Schools FORM C. Applied Music Study Teacher's Report School Name Su hjef.t (pupil) Number Lessons Number of Hours Practice Grade Remarks 1st month 2nd month 3rd month 4th month 5th month 6th month 7th month 8th month 9th month Teacher . . Date FORM D. Applied Music Study Application for Ex.-.mination We, the undersigned, hereby request that (pupil) be permitted to take the annual examination in . (subject) for credit, subject to the regulations agreed to at the beginning of the current school year. Signed Pupil Teacher Dated. -Parent Statement of Work Accomplished This is to certify that has studied and learned acceptably, during the current school year, the following: Scales, etc. Studies Pieces _. Signed : Teacher Dated Note to teacher and pupil: This Application for Examination and Statement of Work Accomplished must be presented to the examiner at the time of the annual examination. The examiner will give it, with his report on the examination, to the High School Principal for permanent filing. Instrumental Music in Senior High School 215 FORM E. Applied Music Study Examiner's Report School Student's Name Subject Grade Amount Credit For Year Ending Signed : Examiner HIGH SCHOOL COURSE OF STUDY IN PIANO The plan of this outline is to suggest from innumerable sources, a representative and authoritative list of material from which each year's work may be selected. Ample freedom is given the private teacher to offer the pupil favorite material Ensemble performance develops leadership. 216 Music in the Public Schools equivalent to the suggested numbers. In all cases this equivalent material must be of the same minimum standard as set forth in each year's v^ork. These courses are offered in the hope that many high school pupils will, induced by the credit toward graduation, find it possible to continue, or to begin, the study of applied music during the high school period. Course For The Beginner First Year (Ninth Grade) . _ TECHNIC 1. Scales. C,G,D,A,E,B,F major scales, one octave hands separately. M.M. 60-72, in the following forms : 1 octave — 1 sound to the beat (quarter notes) 2 octaves — 2 sounds to the beat (eighth notes) 3 octaves — 3 sounds to the beat (triplets) 4 octaves — 4 sounds to the beat (sixteenth notes) 2. Chords: C,G,D,A,E,B,F major triads in three positions M.M. 40-60, in the same form as major scales 3. Cadences (harmonic progressions) . I V I, I IV I in all major keys, hands separately or together in three positions. 4. Studies or Etudes. (Examination requirement: one specimen representing each group, to be selected by the examiner.) SIGHTREADING One piece, at least two grades below prepared numbers. EAR TRAINING Recognize major and perfect intervals. (Not required for examination, but highly recommended.) Instrumental Music in Senior High School 217 REPERTORY 1. Bach, Little Preludes. 2. Any movement from a sonata or sonatina by Haydn, Mozart, or Beethoven. 3. Compositions by romantic or modern composers. (Examination requirement: one selection representing each group. Three selections must be memorized.) Examination numbers may be chosen by the teacher from the material suggested on the supplementary list, the high school contest-festival list or the list prepared by the Federation of Music Clubs. Supplementary List First Year (Ninth Grade) TECHNIC— STUDIES AND ETUDES Barth. Technic Book I. Bertini. Tiuenty-Five Etudes op. 100. Burgmueller. Studies op. 109 Bk. 1. Czerny-Germer. Volume I, Part L. Gurlitt. Twenty-Four Melodious Studies. Heller. Studies op. 47. Thompson, John. TImrl Grade Velocity Studies. REPERTORY Aaron. Adult Affroach to Piayio Study. Bach. Six Little Preludes for Beginners. Twelve Little Preludes for Beginners. Hughes. Master Series for the Yoking. Carter. Book for Older Beginners. Mason. Adidt Appi'oach to the Piano. Beethoven. Sonata op. 49. No. 1 and No. 2. Curtis. Fundamental Piano Series Book IIL Frey. Ne2u Sonatina Book. Frost. Six Sonatinas. Haydn. Allegretto. Six Sonatinas. (Schott Ed-urtext). 218 Music in the Public Schools Mozart. Vienyiese Sonatinas. Scionti. Road to PioMO Artistry. Vol. 4 and 5. Selected Sonatinas Book. Vol 1. Bloch. 10 Enfantines. Brahms. Waltzes. Chopin. Preludes. Mazurkas. Debussy. The Little Shepherd. Le Petit Negre. Dett. Juba Dance. Grieg. Lyrical Pieces op. 12. Berceuse, op. 38. No. 1. Hanson. Enchantment. Clog Dance. Haubiel, Dance of Dorian Youths, from Etchings. Ibert, The Giddy Girl. Kabalevsky, 18 Pieces for Children. McDonald, Monkeyshines No. 1 and 2. MacDowell, Woodland Sketches. Sea Pieces. Mendelssohn, Children's Pieces. Songs without Words. Pinto, Podolsky, Recital Repertoire, Bk. L Five Scenas Infantes. Repper, Tyrolese Wedding Dance. Scharwenka, Barcarolle in e Minor. Schubert, Moment Musical in f Minor. Schumann, Album for the Young. Tansman, Ten Diversions. Tchaikovsky-Hughes, Master Series for the Young. Second Year (Tenth Grade) TECHNIC 1. Scales. C,G,D,A,E,B,F scales, hands together one octave apart. M.M. 60-72. Minor scales A,E,B,D, one octave. Instrumental Music in Senior High School 219 2. Arpeggios (broken chords). All major and minor triads on white keys in three po- sitions. M.M. 40-60, same forms as in first year work. 3. Cadences (harmonic progressions) . I V I, I IV I in all major and minor keys, hands sep- arately or together in three positions. 4. Studies or Etudes. (Examination requirement: one specimen representing each group.) SIGHT READING Material should be at least two grades below prepared numbers. (Examination requirement: one piece, to be selected by the examiner.) EAR TRAINING Recognize major and minor scales and triads. (Not required for examination — but highly recommended.; REPERTORY 1. One Bach dance. 2. One romantic selection. 3. One number by an American. (All three must be memorized.) Examination numbers may be chosen by the teacher from the material suggested on the supplementary list, the High School Contest list, or the list prepared by the Federation of Music Clubs. Supplementary List Second Year TECHNIC— STUDIES AND ETUDES Aaron. Graded Course Book 11. Bertini. Twenty-Five Etudes op. 29. Burgmueller. Studies op. 109. Bk. II. 220 Music in the Public Schools Czerny. The New Czerny. Bk. L Fermer. Studies Vol. I Part II. Heller. Thirty Progressive Studies op. 43. Schytte. Tiventy-Five Easy Studies. Scionti. Book I. REPERTORY Bach. 2 wo Part Inventions. French Suites. Bach, John Chr. Sonata in C Minor. Scarlatti. T^venty-Five Sonatas. Peters. Scionti. Road to Artistry. Vol. 6 and 7. Thompson, John. Piano Course Grade U- ■ - , — Sonata Album. Vol. I. Schirmer. Bach- Vincent. Bach for Beginners. Bk. 1. Bartok. Children's Pieces. Mikrokosmos Vol. 4 and 5. Chopin. Preludes. Waltzes. Mazurkas. Debussy. Children's Corner. Frank. Danse Lente. Gershwin. Prelude No. 2. Heller. Warriors Song. Iljinsky. Lullaby. Lecuona. La Com'parsa. MacDowell. Alia Tarantella. Improvisation. Scotch Poem. Niemann. Evening in Seville. Singing Fountain. Pieczonka. Tarantella in A Minor. Prokofieff. Children's Pieces. Repper. The Dancer in The Patio. Reinecke. Sonatina. C. Major, op. 27. No. 1. Scharwenka. Scherzino. Schubert. Minuetto in B Minor. Impromptu op. 142 No. 2. Schumann. Children's Scenes. Szalit. Intermezzo in G Flat Major. Thomson, Virgil. Tenor Lead. Whitemore, Cuthbert. Hmidred Best Short Classics. Vol. I. Instrumental Music in Senior High School 221 Third Year (Eleventh Grade) TECHNIC 1. Scales. B^ E^ A\ D^ C^ F, C. Hands separately or together one octave apart. M.M. 72-88, same forms as in previous years. A,E,B>F,C,G minor scales, one octave, hands together. 2. Arpeggios (broken chords). 3. Cadences (harmonic progressions) . I V I, I IV I in all major keys. 4. Studies or Etudes. (Examination requirements: one specimen representing each group.) SIGHT READING Material should be at least two grades below prepared numbers. A string quartet performance is a most rewarding musical experience. ^sm^miF 222 Music in the Public Schools (Examination requirement: one piece, to be selected by the examiner.) EAR TRAINING Recognize major and minor scales and triads. Major, minor and perfect intervals. (Not required for examination — but highly recommended.) REPERTORY 1. One Bach number. 2. One Sonatina movement. 3. One Romantic number. 4. One selection by an American. Examination numbers may be chosen by the teacher, from the material suggested on the supplementary list, the High School Contest-Festival list, or the list prepared by the Federation of Music Clubs. Supplementary List Third Year TECHNIC— STUDIES AND ETUDES Aaron. Graded Course. Bk. II. Bertini. Easy and Progressive Etudes op. 32. Czerny. School of Velocity op. 299. Liebling. Book II. Heller. Etudes op. 45. Scionti. Vol. II-III. Thompson. Melody All the Way. Tchaikovsky. Album for The Young op. 39. Wolff. Ttvelve Short Octave Studies op. 118. REPERTORY Albeniz. Tango. Bach. Tivo Part Inventions. Bach. Three Part Inventions. Bach-Foote. Second Year Book. Bach-Hughes. Master Series for The Young. Earth. Monticello Suite. Instrumental Music in Senior High School 223 Bartok. Sonatina. Mikrokosmos Vol. 6. Beethoven. Complete Sonatas, (any standard edition). Carpenter. Polonaise Anfiericaine. Chasins. Prelude in E Minor. Chopin. Nocturnes. Preludes. Mazurkas. Waltzes. Curtis. Fundamental Piano Series Bk. 4. Debussy. Arabesques. Children's Corner. Grieg. Berceuse. Papillons. Griffes, Charles T. The Lake At Evening. Guion. The Harmonica Player. Haydn. Complete Sonatas, (any standard edition) Ibert. The Little White Donkey. Kabalevsky. Sonatina, op. 13. MacDowell. Hungarian. Shadow Dance. Mendelssohn. Prelude in E Minor. Mozart. Complete Sonatas, (any standard edition) Paderewski. Nocturne in B Flat Major Palmgren. Cradle Song. Rachmaninoff. Humoresque. Schubert. Complete Sonatas, (any standard edition) Schumann. Romanze in F Sharp. Scionti. Road to Piano Artistry Vol. 8. Shuett. Reverie. Valse Lente op. 17 No. 2. Thompson. Piano Course Grade 5. Thorn, Edgar. Forgotten Fairy Tales. Tchaikovsky. Humoresque. Tscherepnin. Ten Bagatelles. Good orchestral performance develops and demands sensitive musicianship. Fourth Year (Twelfth Grade) TECHNIC 1. Scales. All major and harmonic minor scales, hands separately or together. M.M. 84-100. 2. Arpeggios (broken chords). All major and minor triads hands separately, one octave. M.M. 60-72. 3. Cadences (harmonic progressions). I V I, I VI I, in all major and minor keys in three posi- tions. 4. Studies or Etudes. (Examination requirements: one specimen representing each group.) SIGHT READING Materials should be at least two grades below prepared numbers. (Examination requirements : one piece to be selected by the examiner.) EAR TRAINING Same as in 3rd vear. Instrumental Music in Senior High School 225 REPERTORY 1. One Bach number. 2. One Sonatina movement. 3. One Romantic selection. 4. One selection by an American composer. Examination numbers may be chosen by the teacher from the material suggested on the supplementary list, the High School Contest-Festival list, or the list prepared by the Federation of Music Clubs. Supplementary List Fourth Year TECFINIC— STUDIES AND ETUDES Clementi. Gradus and Parnassum. Cramer. Studies for the Piano. Czerny. School of Velocity, op. 299. Liebling. Book III. REPERTORY Albeniz. Seguidillas. Bach. O. P. E. Allegro in F Minor. The Well Tempered Clavichord I and II. Tivo and Three Part Inventions. Barth. Tone Portrait. Brahms. Ballade in G Minor op. 118. Intermezzi op. 116 No. 4 and 6. Intermezzi op. 118 No. 1 and 2. Chasins. Rush Hour in Hong Kong. Chopin. Nocturnes. Copland. The Cat and The Mouse. Curtis. Fundamental Series Bk. 5. Debussy. Ballade. Preludes Bk. I and H. Dennee. Forest Sounds. Haydn. Concerto in D Major. Liszt. Liebestraum. No. 2. MacDowell. Fo2ir Little Poems. Moto Perpetuo. 226 Music in the Public Schools Neiv England Idyls Prelude from Suite Modern. Rigaudon. Witches Dance. Mendelssohn. Three Etudes op. 104. Prokofieff. Prelude in C Major. Ravel. Pavanne. Respighi. Notturno in G Major. Schubert. Impromptu. Moment Musical. Schumann. Fantasie Stueck op. 12. Scionti. Road to Piano Artistry Vol. 9. Sonatas. (Same as in third year.) Scott. Lotus Land. Dance Negre. Shostakovitch. Three Fantastic Dances. Sibelius. Romance. Select material (technic and repertory) from first year Ad- vanced High School Course of Study. General Music Class in Senior High School 227 GENERAL MUSIC CLASS IN THE SENIOR HIGH SCHOOL ORGANIZATION The general music class, if carefully planned and effectively taught, can meet the school's needs for music education better than any other musical group. The course should be open to all children regardless of their musical experience. It is not a sub- stitute of any kind, but rather a course that will enhance the entire program of music education in the school, if dealt with as the core of the school's musical activities. In this class many students will develop an interest in singing in the chorus or playing in an instrumental group. The course must Any course of this type must have present a wide enough variety to meet the wide range variety of interests of diversified interests that exist among a heterogeneous group. The word gen- eral itself suggests a wide range of activity. A general music course should deal with all kinds of music and every phase of musical expression. Students study music associated with their daily living in a consumers music class. 228 Music in the Public Schools General objectives The general objectives of a course such as this should be: To provide experience in listening, singing and playing. To provide some means of discovering musical skill. To arouse a greater interest in and give further contact with music. ; To provide general facts and information about music and related subjects. The emphasis which the teacher places on each of these gen- eral objectives will be determined only by the needs of the class. Each year the needs of the class will be different, because each year the students will come with different interests and back- grounds. Determine The teacher cannot plan a specific course of interest and study for the year until the needs and interests background of the class are discovered. He may have in of students mind such suggestions as singing, work in class voice, or having demonstrations and discus- sions. He may suggest that the class listen to records, create their own songs, experiment with recreational instruments, in- vite guest artists, have class concerts and field trips and a hundred other things. However, this is one music course that cannot begin with music. This one must begin with the interests of the children. If the course is to be entirely successful, it must begin on the level where the child's interests actually are and not where the teacher feels the interests ought to be. The wise teacher realizes that to a child, any music which is familiar to him is good music. If there is a difference between the teacher's idea of good music and the student's idea of good music (and there usually is a difference), then it becomes the challenge of the teacher to bridge this gap, beginning with the student's idea and pursuing the avenues of his interests. If the musical scope of the class seems to center around modern dance music and popular music, as often happens, this makes an ex- cellent starting point. Students may bring in and discuss their favorite records at this point. Discussion and projects or reports on different kinds of dance music and popular music, person- General Music Class in Senior High School 229 alities in the field, whose dance music is attractive to so many- people, and the like, can lead to a broader view of the whole subject of music. Outlining similarities and differences between the dance band and the symphony orchestra, or between the dance band vocalist and the opera singer, is one way that the teacher can stimulate further discussion and interest in the field of more serious music. In-school and As the lines of pupil interest are followed out-of -school through the course, an effort should be made music activities to tie the subject matter in with other in- school and out-of-school activities. Classes in social studies, English, art, or languages, may call on the general music class to help with one of their projects. Music that the students hear in church, on television, on radio, at con- certs, or in motion pictures, must be brought into the general music class. Students should understand at the beginning of the course that music is not an isolated art on a pedestal to be en- joyed by only certain favored people. The attitude and approach of the early stages of the course is important. Class size The general music classes should not be larger than other classes in the school whose objectives are similar. The teacher should be well trained in music and must have an open mind to all kinds of music. The teacher of the general music class should have a good knowledge of the field of general education and a keen interest in the growth and development of the individual child. How to organize To introduce this course to the students, it class might be well to set it up as a free elective, open to all students regardless of grade level. Other courses of a more specialized nature, such as music theory and class voice, may follow as an outgrowth of this first general music class. Credit One unit credit should be given for five class periods per week. One-half unit credit should be given for three class periods per week. 230 Music in the Public Schools SAMPLE UNITS FOR GENERAL MUSIC CLASS The following is a sample outline of a general music class. (The group which used this outline preferred calling the class a "Consumer's Music Course".) Unit I — Music In Recreation 1. Philosophy of good recreation. 2. A study of recreational opportunities in school and community. 3. Jazz as an avenue of recreation. a. History of jazz. b. Jazz styles. (Rag time, Blues, Dixieland, Hot Jazz, Swing, Be Bop, Glorified Jazz.) . - c. Jazz personalities. d. Jazz vocabulary. e. Jazz instrumentations. 4. Some general concepts as a result of this study. a. Jazz is always burlesque. It makes fun of everything which is serious in life. b. There is a time and place for every kind of music. The situation at hand determines the type of music to be used. c. Jazz reflects definite aspects of the "American way of life," such as our "happy-go-lucky" existence, frank nature, sense of humor, etc. 5. Changes which occurred in student interests concerning jazz. a. Students become more interested in higher, more refined jazz music. b. Students listened with more intelligent understanding and in- terest to the music they heard. BIBLIOGRAPHY Appel, Willi. Harvard Dictionary of Music. 1947. Harvard. Armstrong, Louis. Swing that Music. Chase, Gilbert. America's Music. 1954. McGraw-Hill. Goffin, Robert. Jazz. Doubleday. Graham, A. P. Strike Up the Band. 1949. Nelson. Hughes, Langston. First Book of Jazz. 1954. Watts. Lomax, Alan. Mister Jelly Roll. 1950. Duell. Miller, P. E. Esquire Jazz Books. 1944, '45, '47. Barnes. Panassie, Hughes. Hot Jazz. Witmark. The Real Jazz. Smith. Ramsey, Frederic. Jazzmen. Harcourt. Spaeth, S. G. History of Popular Music. 1954. Random. General Music Class in Senior High School 231 Unit II — Music In Worship 1. A study of the meaning of worship. 2. A study of five major religions of mankind. 3. A brief history of music during Christian days. a. The inheritance of Christian music from Jewish culture. b. The study of early Christian music. (Plain song) c. The study of polyphony. d. The study of congregational participation after the Reformation. e. The study of music in our churches of today. (Music used in both formal and informal worship services.) 4. Outcomes. a. Students gained an understanding that the basic principles of worship are similar in all religions. This study aided pupils to understand better their own religion and to respect other re- ligious beliefs. b. Through rich association with music in worship, students worked for an improvement in the music of the worship services of their own churches. BIBLIOGRAPHY Ellinwood, Leonard. Avierican Church Music. 1954. Morehouse. Fitch, Florence. One God — The Ways We Worship Him. 1946. Lothrop. Fraser. The Golden Bough. Soper. Religions of Mankind. Swarm, Paul. Gnidepost for the Church Musician. 1954. Church Music Foundation. Unit III — Music of Our Serious Thoughts This unit gives a wide choice of subjects for study. One class selected "Music Associated with a Wedding Ceremony" as the topic for this unit. Suggest other topics — Inauguration of a President, A Coronation, Dedica- tion of Public Buildings, Commencement and Baccalaureate Programs, etc. Activities : 1. Class studied wedding etiquette. 2. Class studied wedding traditions and customs. 3. Class studied wedding ceremonies. 4. Class studied wedding music. 5. As a final project each student composed an entire wedding cere- mony, selecting appropriate music and illustrating proper wedding etiquette. 232 Music in the Public Schools Outcomes : 1. Class realized as they did in their study of Unit I that there is a time and place for every kind of music. The music for a wedding ceremony should be serious and sincere. 2. Through a deeper understanding of proper procedures concerning preparation of the wedding ceremony, the students developed a keener appreciation for an inspiring and beautiful wedding cere- mony. BIBLIOGRAPHY Cotton & Bradburn. Music Throughout the World. 1953. Birchard. Post, Emily. Etiquette. 1950. Funk. Vanderbilt, Amy. Complete Book of Etiquette. Doubleday. Types of class It is suggested that the teacher and students recitation experiment with several types of class reci- tation. On some occasions the lecture method might be most practical. Whenever possible the panel discussion and other group methods should be used. At times the class might be divided into as many as five or six interest groups. Each group studies one phase of the subject at hand and re- ports to the entire class when their research has been completed. Use of listening In one instance the science department of table the school fabricated a listening table, made up of three turn-tables (3-speed) with five earphone jacks per turn-table. This instrument was placed in the regular school library, which gave opportunity for members of an entire committee or several committees to listen to different compositions at one time. The use of ear- phones makes for quiet listening without disturbing others. Symphony and Opera in North Carolina 233 SY31PH0NY AND OPERA IN NORTH CAROLINA THE NORTH CAROLINA SYMPHONY ORCHESTRA A symphony orchestra that actually belongs to the people of its State has grown to have an important place in its culture. The first grant-in-aid to an orchestra by a state government was given to the North Carolina Symphony in 1943 ; and legislatures since then have increased this original appropriation. Our State orchestra was first organized in 1932 under the sponsorship of the North Carolina Symphony Society, a private- ly-owned, non-profit organization headed by Joseph Hyde Pratt. Lamar Stringfield was the first conductor and the musicians were collected from all sections of North Carolina. The first performance was on May 14, 1932 in Hill Music Hall, Chapel Hill, In 1939 the Symphony Society was reorganized and Dr. Benjamin Swalin was chosen as conductor. In 1942 each community was encouraged to form its own Symphony Committee with as many m.embers as possible. When a certain membership goal was attained, sufficient funds were available to pay for one free children's concert, as well as a concert for the community. This was a successful plan and in 1945, the orchestra was put on a professional basis. The educational policy was also developed in 1942, with a music education teacher being named director of the Children's Concert Division. Her ''Symphony Stories" — booklets containing brief background stories for the coming concert numbers and biographical sketches of the composers' lives; seating arrange- ment for the orchestra; melodic notation for some of the sym- phonic themes; music for the songs they sing with the orches- tral accompaniment; and quiz games based on the program notes — are purchased by the pupils at a minimum charge. The director also compiles notes for classroom teachers which in- clude a list of books, records, pictures, and films helpful in teaching a deeper appreciation for the coming program and symphony orchestras in general. These notes also help teachers to use rhythm, finger painting, dance movements, and study plans to help youngsters toward a better understanding of music. In 1954, the first in a series of two annual workshop meetings for grade and music teachers, sponsored jointly by the Uni- 234 Music in the Public Schools versity of North Carolina Extension Division and the Symphony Society, was inaugurated. Each year, in order to give many promising young musicians a "start" toward their professional careers, the North Carolina Symphony Orchestra offers an opportunity for capable musi- cians to audition for appearance as soloist with the State Sym- phony. A prize of $1000 is offered each year by Edward B. Benjamin through the North Carolina Symphony Society to composers in this country who pen soothing music ("Restful, Reposeful!"). At present the North Carolina Symphony is, in reality, two touring orchestras. The "Little Symphony" (with 26 members) is on the road generally during February and March. At the conclusion of its tour, the Little Symphony is joined by ap- proximately 40 additional musicians, thereby forming the Full Symphony which tours throughout the State, playing in larger cities. Today, the North Carolina Symphony is known as the "Suit- case Symphony", for each season it brings music into all corners of the State. It has given more free children's concerts than any other orchestra in the world. GRASS ROOTS OPERA North Carolina can boast of another "first", for the week of of July 13-19, 1947 in Raleigh marked the first opera festival in the United States. This Eastern Seaboard Regional Opera Festival was produced by Clifford Bair of Winston-Salem, regional co-ordinator of the National Association for Opera, and sponsored by the North Carolina Music Festival Association in Raleigh. Three productions — "Martha", "The Chocolate Soldier", and "Elijah" — were given with a cast which was seventy-five per cent Southern and predominantly North Caro- linian. Meredith and Wake Forest Colleges and the Raleigh Recreation Department assisted with choruses and dances. The present Grass Roots Opera Company was organized in 1948 by A. J. Fletcher, a Raleigh attorney, shortly after his appointment as State Chairman of Opera by the North Carolina Federation of Music Clubs. Symphony and Opera in North Carolina 235 After a performance in Chapel Hill, the University established the North Carolina Opera School in Raleigh to train its per- formers. In an effort to increase the educational value of per- formances, conferences were held with State educational leaders. As a result, a former music education teacher was hired, whose duties included compiling notes for classroom and music teachers on the story of the opera, biographical sketches of the com- poser's life, general information about the country from which the plot was drawn, and suggestions emphasizing a close cor- relation between the opera study and the total school program. Several weeks in advance of each performance this educational director visited the area and assisted local school and com- munity leaders in using the teacher's notes to greater educa- tional advantage for adults as well as girls and boys. The result of such a pre-planned performance was a whole community of opera lovers. The opera company won the support of the National Federa- tion of Music Clubs, the University of North Carolina, and the cooperation of public school authorities. It progressed by leaps and bounds, and in 1950 was asked to perform at the Washington, D. C. Sesquicentennial Celebration. The aims of the group are : "To give all qualified singers opportunity to equip themselves through experience before the footlights for a professional performance ; to give avocational singers opportunity for development of their talents; and to acquaint the people of North Carolina with the beautiful music to be found in opera. Each performance is sung in English and in a manner that is just as understandable (especially after the school preparatory activities) as the popular music of the day. The organization is careful to operate in a manner which can be duplicated by any other state; and, so far, eight others have attempted such a project. The Grass Roots Opera Company is attracting students from all over the United States and its former students are appearing in such well-known groups as the Wagner Opera Company and the New York City Center Opera Company. It has been featured in several magazines throughout the nation and is on the verge of being known throughout the world. It appeared at the 1953 Convention of the National Federation of Music Clubs in New York. 236 Music in the Public Schools Like the North CaroHna Symphony Orchestra, the Grass Roots Opera Company is glad to go into a community where there has never been a performance of its kind and make friends with heretofore non-opera goers. "THE OLD NORTH STATE" (A Study Lesson on the State Song) Prepared by Mrs. E. E. Randolph, Raleigh, N. C. From about the year 1835, over a century ago, the people of North Carolina loyally sang as their State song "The Old North State," but it was not until 1927, by an act of the State Legislature, that it became the official State song. The author of the words of the song was the highly esteemed The little ofFice on the corner of Salisbury and Hargett streets where, In 1835, Judge William Gaston wrote North Carolina's State song, "The Old North State." This building was later used by Miss Loulie Busbee's kindergarten where little children sang songs and perhaps learned to love "The Old North State" as it was sung in earlier years. Miss Busbee loaned the photograph for this article. mmmmm?' ■ m ml te^ip F ^•fi[.=pF=^FFFt=F r\ ^5 J I m f=f While^e live we will- cher-ish, pro - tect and de - fend her, The' the Say whose ncime stands the fore-most, in lib-er-ty's sto - ry, Tho' too As hap - py a re-gion as on this side of heav-en, Where S P c_fir. r F^fippi' i F ^ ^ j j jin j#i ^^ ^Fn. scorn-er may sneer at and wit - lings de-fame her. Still our hearts swell with true to her self e^r to crouch to op -pres-sion, Who can yield to just plen-ty and peace,love and joy smile be -fore us. Raise a - loud, raise to - "~» « m . m .^r~^m . 0- ' ^ff r pip F pir ^ s ns Chorus ^^ f isj: s glad-ness when ev - er we name her. rule a more loy - al sub - mis-sion. geth-er the heart thrill-ing cho - rus. Hur-rah! Hur-rah! the g ^ FTpn^^ i p^^ y ^=^ ^-Ls i^ J- igJ S Lg^ f' 3 3 > p fe s -* — «~ Old North State for- ev - er, Hur-rah! Hur-rah! the good Old North State. -0 t f=f= S= ^ft; ^r=p s Symphony and Opera in North Carolina 243 DIRECTORY OF MUSIC PUBLISHERS Asch E. A. Ascher, 1155 Broadway, New York Bar C. L. Barnhouse Co., High Ave. and L Street, Oskaloosa, Iowa Bel Belwin, Inc., 250 Maple Ave., Rockville Center, Long Island, New York BH Boosey & Hawkes, Inc., P. O. Box 418, Lynbrook, Long Island, New York BM Boston Music Co., 116 Boylston St., Boston BO Bourne, Inc., Music Pub., 799 Seventh Ave., New York BMI Broadcast Music, Inc., 580 Fifth Ave., New York CCB C. C. Birchard & Co., 285 Columbus Ave., Boston CF Carl Fischer, Inc., 62 Cooper Square, New York EV Elkan-Vogel Co., Inc., 1716 Sansom St., Philadelphia Fill Fillmore Music House, 528 Elm St., Cincinnati Fs H. T. Fitzsimmons Co., 615 N. LaSalle St., Chicago GHM Gamble Hinged Music Co., 218 S. Wabash Ave., Chicago GS G. Schirmer, Inc., 3 E. 43 St., New York HMc Hall & McCreary Co., 434 S. Wabash Ave., Chicago Har Harms, Inc., RCA Bldg., Rockefeller Center, New York JF J. Fischer & Bros., 119 W. 40 St., New York Lud Ludwig Music Pub. Co., 323 Frankfurt Ave., N.W., Cleveland Mil Mills Music, Inc., 1619 Broadway, New York NAK Neil A. Kjos Music Co., 223 W. Lake St., Chicago OD Oliver Ditson, c/o Theodore Presser Co., Bryn Mawr, Penna. PAS Paul Schmidt Music Co., 88 S. 10 St., Minneapolis Pro Pro Art Publications, 143 W. Broadway, New York RAH Raymond A. Hoffman Co., 118 West Ohio St., Chicago Rem Remick Music Corp., RCA Bldg., Rockefeller Center, New York Ric G. Ricordi & Co., Inc., 1270 Sixth Ave., New York Ru Rubank, Inc., 5544 W. Armstrong Ave., Chicago SB Silver Burdett Co., 45 E. 17th St., New York SF Sam Fox Publishing Co., 1250 Sixth Ave., New York TP Theodore Presser, Bryn Mawr, Pennsylvania Vic Victor Publishing Co., 1322 Congress St., Chicago Wil Willis Music Co., 124 E. Fourth St., Cincinnati, Ohio Wit M. Witmark & Sons, 54 W Randolph St., Chicago