My City, My SongA Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2

Weill Music Institute

Musical Explorers

Teacher Guide

My City, My SongA Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2

Weill Music Institute

Musical Explorers

Teacher Guide

WEILL MUSIC INSTITUTE Joanna Massey, Director, School ProgramsAmy Kirkland, Manager, Elementary School ProgramsJacqueline Stahlmann, Coordinator, Elementary School ProgramsMarie Ortinau, Administrative Assistant, Elementary School Programs

PUBLISHING AND CREATIVE SERVICESJay Goodwin, Managing Editor, WMICarol Ann Cheung, Associate EditorEvelyn Ochoa, Graphics ManagerHiromi Park, Senior Graphics Designer

CONTRIBUTORSTanya Witek, WriterSophie Hogarth, IllustratorScott Lehrer, Audio Production

Weill Music Institute at Carnegie Hall881 Seventh Avenue | New York, NY 10019Phone: 212-903-9670 | Fax: 212-903-0758musicalexplorers@carnegiehall.orgcarnegiehall.org/MusicalExplorers

Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Major funding has been provided by The Irene Diamond Fund, The Charles Haimoff Endowment, and The Walt Disney Company. Additional support has been provided by the Ella Fitzgerald Charitable Foundation. Musical Explorers is also made possible, in part, by an endowment gift from The Irene Diamond Fund.

© 2013 The Carnegie Hall Corporation. All rights reserved.

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Table of Contents

Foreword 4

How to Use This Guide 5

Options for Teachers 6

Options for Teachers of Students with Special Needs 6

Pathways for Teachers 7

Meet the Artists 8

Introduction 10

Semester 1 18 Unit 1: Irish Music with Anne-Marie 18 Unit 2: Colombian Music with Marta 29 Unit 3: South African Music with Tshidi 37 Concert Preparation 45

Semester 2 50 Unit 4: African American Gospel Music and Spirituals with Andrea and Puma 50 Unit 5: Russian Music with Sasha 62 Unit 6: Brazilian Music with Nanny 71 Concert Preparation 80

Additional Information 85 Glossary 85 National Standards for Music Education 86 New York City Department of Education Blueprint for Teaching

and Learning in Music 86

Acknowledgments 87

CD Track List 88

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ForewordWelcome to Musical Explorers!

This curriculum is designed to connect students in grades K–2 to the diverse musical community of New York City as they develop listening, singing, and composing skills. Each semester culminates in an interactive concert featuring vocalists from a wide variety of musical styles and from different New York City neighborhoods. The 2013–2014 curriculum also explores musical opposites as found in each of the artists’ music.

Musical Explorers combines skills-based and creative activities, and can be integrated into academic and music classrooms. To facilitate planning, this Teacher Guide contains vocal exercises, lesson plans, activity timings, background information about musical styles and artists, and Student Guide pages. In addition, the companion audio CD provides concert repertoire selections and learning tracks. Any scripted suggestions appear in italics.

Students will not only be listening to, but also performing songs with the artists during each concert. Printed music and/or lyrics for these songs are included within the lessons, and audio tracks are provided on the CD. Teachers are encouraged to practice these songs regularly and complete the accompanying activities with their students so they can have the fullest concert experience possible. In addition, every lesson plan contains tips for helping students develop healthy, age-appropriate vocal technique.

We hope you enjoy the journey!

ExplorationHow can music represent the spirit of a community?

Key ObjectivesMusical Explorers are students and teachers who look for the answers to this question as they

• meet singers whose music represents different ethnic and cultural communities• sing and move to the artists’ songs• make connections between the artists’ music, their New York City neighborhoods,

and their cultures of origin• explore musical opposites that create the unique sound of each artist’s music

How to Use This Guide Presenting and Discussing Music in Your Classroom With your guidance, Musical Explorers develop habits of active and engaged listening through a process that includes using recurring prompts, follow-up questions, modeling, and short, repeated listenings.

Prompts: As students encounter new songs throughout the curriculum, ask them questions about the music. We have included some scripted suggestions, which appear in italics. These prompts are purposefully very open to help familiarize students with the process of noticing and articulating specific aspects of the music.

• What do you hear in this music?• How would you move to this music?• What words can you use to describe this music?

Follow-Up Questions: Here are some examples of questions that might be used in addition to the above prompts to draw out your students’ ideas. Young students may need to be offered some choices until they develop more confidence in their own vocabulary and abilities. Follow-up questions may include:

• Can you tell me a little more about that?• Can you show me that with your hands by clapping or tapping, or by moving your body?• Can you sing it for me?• What do you think the musicians are feeling? What makes you think that?• What are the instrumentalists doing? What is the singer doing?• Is the music busy or calm, loud or soft, high or low, smooth or bumpy?

Modeling: At the beginning of the year, it may be helpful to model responding to your own prompts.

Repeated Listening: As you facilitate listening and discussion, it will be helpful to remember these tips for the “What did you hear in this music?” prompt:

• Play examples more than once and spread listenings across many lessons. Unfamiliar music takes time to absorb, process, and respond to.

• Play back short excerpts of the music by pausing the CD player after each section.• Offer the prompts while listening to a song, since it may be more difficult for students to recall

a musical detail or observation when the music exists only in memory.

Making the Invisible Visible: To help young students actively listen to and engage with music, look for ways to make the invisible world of music visible, and whenever possible, kinesthetic. In Musical Explorers, these methods include

• singing melodies• clapping and tapping rhythms (body percussion)• counting rhythms• drawing sounds• connecting narrative ideas with music• dancing• connecting cultural images with music

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Options for TeachersCreative Extensions: These extensions are designed to continue the exploration of repertoire and concepts beyond the concert program. We encourage you to delve deeper into the music and cultures explored through these activities and to share your experiences with other classes, parents, members of the school community, and Carnegie Hall staff.

Musical Word Wall: We encourage you to keep a word wall and add each of the below vocabulary words as they are introduced in the lessons, along with any other terms you might choose to add.

Musical Explorers Word Wall

Introductory Lessonsexplorer hummingoppositevibrations

Fall Semesterbodhráncall and responsecarnavalcontourduetemotions fast harmonyimproviselyricsmelody mood musical layerspatternpitch slow solosteady beat Zulu

Spring Semesteraccelerandobalalaikacajóncapoeira dynamicsechoforrógospel musicgourdlegatopandeiropatternrhythmsolospiritualstaccatotempotriangleUnderground Railroad

Options for Teachers of Students with Special Needs• Students can participate in Musical Explorers in a variety of ways and may learn the songs by singing,

moving, and/or clapping. You may also want to focus on smaller sections of the song. Since you know your students best, allow them to participate in ways that will help them feel the most successful.

• Encourage students to engage with the music using tangible objects, such as handmade instruments (e.g., cups with beans for shakers), rhythm sticks, and drums.

• Allow time for students to experience the music and repeat as often as necessary. The lessons outlined in this curriculum may take additional time and span more than one class period. Use one-step directions and visuals as often as possible to help students understand the concepts.

• Some visual aids are provided within the curriculum and at the Musical Explorers concerts, but you may wish to provide additional resources to help your students engage with the material. If you have ideas for elements we can include in future curricula, please send them to us at musicalexplorers@carnegiehall.org.

Pathways for Teachers

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Basic Program Path(Minimum requirements for concert participation)

Basic+ Program Path(If you have more time)

Advanced Program Path(If you have a lot more time)

Complete the first song in each unit.

Unit 1 “O’ro the Rattlin’ Bog”

Unit 2 “Carnavaliando”

Unit 3 “Thula Mdwana”

Unit 4 “This Train Is Bound for Glory”

Unit 5 “Kalinka”

Unit 6 “Paranauê”

Complete Lessons 1 and 2 and learn the first (see Basic Program Path at left) and second (see below) songs in each unit.

Unit 1 “Johnny’s Gone for Soldier”

Unit 2 “Tu Voz”

Unit 3 “Inqola”

Unit 4 “Follow the Drinking Gourd”

Unit 5 “The Birch Tree”

Unit 6 “Magalenha”

Complete both lessons, learn both songs, and complete the Creative Extensions included in each unit.

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Meet the Artists

Anne-Marie, Irish MusicAnne-Marie Hildebrandt is a composer, arranger, singer-songwriter, and multi-instrumentalist. She actively performs with the Irish musical community in New York City, often found picking up the fiddle, guitar, or tin whistle, among other instruments, and learning from great players and traditional singers. Visit amhmusic.com to find out more information about Anne-Marie.

Marta, Colombian MusicMarta Gómez and her band perform original compositions that feature the many different rhythms from Latin America. Marta mixes the joy of the Caribbean with the nostalgia of the Andes and adds jazz and pop elements, taking the authenticity of South American indigenous folk music into a new realm. Visit martagomez.com to find out more information about Marta.

Tshidi, South African MusicTshidi Manye, originally from South Africa, made her Broadway debut in The Lion King in 2004. She continues to perform regularly in this show in the role of Rafiki. Tshidi has also starred in the European and Japanese tours of Sarafina!, and has appeared on stage with Paul Simon, David Byrne, and Hugh Masekela. Visit broadwayworld.com/people/bio/Tshidi-Manye/ to learn more about Tshidi.

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Andrea and Puma, African American Gospel Music and Spirituals Andrea Jones-Sojola and Phumzile (“Puma”) Sojola are both classically trained singers with strong backgrounds in gospel music and spirituals. Andrea is a native of Louisville, Kentucky, and has performed with the American Spiritual Ensemble, as well as in concert halls and opera houses around the world. Puma, originally from South Africa, has toured internationally with the Three Mo’ Tenors and performs regularly on Broadway. They both recently made their Broadway debut in the Tony Award–winning production of Gershwin’s Porgy and Bess. Visit americanspiritualensemble.com/voices.html and threemotenorsontour.com/phumzile for more information about Andrea and Puma.

Sasha, Russian Music Sasha Papernik is a classically trained Russian-American pianist and singer-songwriter. She draws her musical inspiration from her dual heritage and plays everything from Russian folk songs to Chopin and Irving Berlin. She performs and teaches actively in New York City and across the US. Her New York–based ensemble tours for The Center for Arts Education with their Russian-American music program, “I Speak Music.” Visit sashatheband.com to find out more about Sasha.

Nanny, Brazilian MusicNanny Assis is originally from Salvador, Brazil, and performs regularly in New York City and internationally. Developing a passion for music at the age of 10, Nanny began his career as a percussionist. He is now a sought-after multi-form musician who sings, plays guitar, and composes. Visit nannyassis.com to find out more about Nanny.

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Introduction Lesson 1

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Lesson 1: Becoming Musical ExplorersAim: What can Musical Explorers do? Summary: Students identify themselves as explorers of New York City’s music. Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 40 minutes (two 20-minute activities)Standards: US 1, 2, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: explorer, opposite

Introduce the “Carnegie Hall Musical Explorers Song”

• Introduce the Conductor on SG1. • Where is our school on this map?• As we explore our city, what kinds of music do you think we might find?

• Introduce students to the Musical Explorers program by singing the “Carnegie Hall Musical Explorers Song,” Track 1, SG2.

• Learn the “Carnegie Hall Musical Explorers Song” sign language, SG3.

Exploring Musical Opposites

• This year, students will explore musical opposites. • What is an opposite? Where do we find opposites?

• Collect words and ideas that students associate with opposites, such as hot and cold, full and empty, big and small, day and night, and tall and short.

• Create a class definition for the word opposite.• What are some things that are different, but not exactly opposites?• How do we know when something is an opposite and not just different?• This year, we will explore opposites that we hear in music. What musical opposites do you think we

might hear?

• Musical Word Wall

Add the words explorer and opposite to the Musical Word Wall.

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SG 3

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Subway map © 2013 and MTA New York City subway logo ™ Metropolitan Transportation Authority. Used with permission.

Welcome to Our Musical Trip!Welcome, Musical Explorers! I’m your conductor, and I’ll help you explore our musical city. Together, we’ll meet our singers and hear their songs and stories. Come along with me and make your discoveries!

SG 1

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SG 2SG 2

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SG 3

I can sing it!

I can say it!

I can dance it!

I can play it!

SG 3

Introduction

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Lesson 2

Lesson 2: Exploring Our VoicesAim: What happens in our bodies when we breathe, hum, and sing?Summary: Students explore their singing and talking voices. The exercises learned may be done as a warm-up. It may take some time for students to know and feel that their singing and talking voices are very different from each other.Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 50 minutes (five 10-minute activities)Standards: US 1, 2, 3, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: humming, vibrations

• What Happens When We Breathe?

Have students find a partner to explore what happens when taking a breath. Have one student take a few slow, deep breaths into their bellies. Encourage students not to lift their shoulders as they take deep breaths. Have the other student watch what happens.

• What is happening inside your bodies as you breathe?• Is anything moving? What is moving?• Can you describe what you feel?• What happens when you raise both hands in the air, take a deep breath, and then lower your hands while you

exhale? Does that feel different? How so?• What happens when you lean over, touch your toes, and take a deep breath? How does that feel different?

• What Happens When We Hum?

Have students perform a few long sounds by singing or humming, which is singing without opening one’s lips. While they hum or sing, tell them to touch their noses, cheeks, throats, necks, backs, and chests.

• What do you feel?• Does anything change when you hum or sing instead of speak?• What do you think is happening? Why?

Explain that all sounds are caused by vibrations, or movements, that go through the air. Without vibrations, music and sounds would not exist. By touching our throats when we hum, speak, or sing, we can actually feel the wiggly vibrations created by our vocal cords.Have students alternate between blowing air (not making sound) and humming, while touching their throats, so that they can feel the difference between vocal cords vibrating and at rest. Have students use SG4 to document their experiences and sensations by circling the parts of the Conductor that correspond to the parts of their bodies they feel vibrating.

Use any of these warm-up activities in Lesson 2 to begin each Musical Explorers lesson!

Introduction

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Lesson 2

• Learning the “Warm-Up Rhyme”

Teach the “Warm-Up Rhyme,” Track 3, to your students. Practice this often as a warm-up before beginning to sing.

Stretch to the sky, (arms lifted over head, taking deep breath)

Reach way up high.

Standing tall,

Feel the lift.

Breathing deep, (deep belly breath, hands on hips)

Arms releasing, (arms drop downwards, keeping chest lifted)

Down they drift.

Fill your lungs. (stretching arms out and down, like a ballet dancer)

Smoothly and slowly, (arms come in and release the breath)

Out it comes. (breathe out slowly)

1

3

5

2

4

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Touch your toes, (bend over and touch toes)

You’re a seed that grows. (rolling up)

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• Vocal Exercises

Now that students have felt their own vocal cord vibrations, guide them in discovering what else their voices can do.• There are four types of voices: talking, singing, whispering, and calling.

Have students explore their voices.• How would you use your voice in the classroom? In music class? In the library? Outside on the playground?

By doing the following exercises often, students will become comfortable with using their singing voices, both high and low. Feel free to mix and match the following warm-ups, or to create your own to add variety.

“Sirens” Track 4: Have students pretend they are police cars on a chase with their sirens on. To do this, start by singing “ooo” on a low pitch and slide up to a high pitch, and then slide back down to a low pitch.

• How can we use our arms to show the different shapes our voices are making?Try out students’ ideas of how sirens can sound and look.

“Yawning Kittens” Track 5: Have students pretend they are sleepy kittens by stretching, yawning, and sighing.• Model the vocal contour of the yawn and sigh (going from a high to a low pitch).• Model a swooping contour with your hands and arms.• Have students mimic you so that they can begin to feel and understand the difference between high and low

sounds by using their bodies and voices.

“Floating Balloon” Track 6: Have students imagine they are a balloon floating in the wind.• Model the balloon’s path by moving your arm.• Make your voice match the contour of the balloon’s path (voice starts low and finishes high). Repeat this

several times.• Have students imitate your arm and vocal movements.• Experiment with the size and contour of the balloon’s arc, matching the movement with your voice.

• xSinging the “Carnegie Hall Musical Explorers Song”

• Warm up students’ voices by singing the “Carnegie Hall Musical Explorers Song,” Track 1, SG2.• Begin each class by listening to or performing this song.

• Musical Word Wall

Add the words humming and vibrations to the Musical Word Wall.

Introduction Lesson 2

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SG 3

Vibrations Feel Wiggly!The wiggles are called vibrations, which cause sounds. Show where you feel the vibrations by circling the areas that would wiggle on the Conductor when she sings.

SG 4

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Unit 1 Preparation

Semester 1: Units 1–3

Unit 1: Irish Music with Anne-Marie• xFind Our Neighborhood (5 minutes)

The Conductor now takes us on a journey to Woodside, Queens, to meet our first singer, Anne-Marie. Have students turn to SG5 and help them do the following:

• Locate your borough and/or neighborhood.• Locate Anne-Marie on the map in Woodside, Queens.• Complete the activity.

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SGX

MANHATTAN

BROOKLYN

QUEENS

BRONX

STATEN ISLAND

Find Anne-Marie’s NeighborhoodIt’s time for us to begin our musical trip! Find Woodside, Queens, where Anne-Marie lives, on the map below. Then complete the activity to start our journey. Let’s go!

Woodside

Anne-Marie

P S G F W A D O O MZ Q A O N H C U A OW S L A S P P N C PT S Q R O W N Z I PM P D Y S E E Y S OF A Y T M S Y F U SG T P A J S R V M IT V R Z L N L D A TD I E M O T I O N EE B E B O D H R A N

ANNEMARIE MOODBODHRAN MUSICEMOTION OPPOSITEFAST SLOW

SG 5

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Unit 1 Lesson 1

Lesson 1: Learning “O’ro the Rattlin’ Bog”Aim: How can we explore fast and slow tempos in “O’ro the Rattlin’ Bog”?Summary: Students learn to sing and move along to “O’ro the Rattlin’ Bog” while building vocabulary to describe musical opposites.Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 40 minutes (four 10-minute activities)Standards: US 1, 2, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: bodhrán, fast, slow, steady beat

• Meet Anne-Marie

• Meet Anne-Marie on SG6.

• Sing “O’ro the Rattlin’ Bog”

• Listen to “O’ro the Rattlin’ Bog,” Track 7.• Invite students to share what they hear in the music (e.g., a woman is singing, there is a drum, the music

is fast and exciting, she sings about trees and animals).• Invite students to sing along with “O’ro the Rattlin’ Bog.”

• Explore Musical Opposites in “O’ro the Rattlin’ Bog”

• Listen to a portion of the song once more. Ask students to listen for when the song is fast or slow.• While they listen, ask students to tap along with the steady beat to feel when the piece is fast or slow.

• Sing and Move to “O’ro the Rattlin’ Bog”

• Students examine pictures of things found in a bog on SG7.• “O’ro the Rattlin’ Bog” is an Irish song about a bog, a wet swampy place where lots of plants and

animals live. Each time we sing through the song, we add on another thing that is found in the bog.• With students, create a simple motion or movement that represents each item in the song. Go through

the sequence of items once with just motions. Next, sing the song while performing the motions at the same time.

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Unit 1 Lesson 1

O’ro the Rattin’ BogChorusO’ro the rattlin’ bog, the bog down in the valley-o,O’ro the rattlin’ bog, the bog down in the valley-o.

Verse 1And in that bog, there was a tree, a rare tree, a rattlin’ tree,With the tree in the bog, and the bog down in the valley-o.(Chorus)

Verse 2And on that tree, there was a limb, a rare limb, a rattlin’ limb,With the limb on the tree, and the tree in the bog, and the bog down in the valley-o.(Chorus)

Verse 3And on that limb, there was a branch, a rare branch, a rattlin’ branch, …(Chorus)

Verse 4And on that branch, there was a twig, a rare twig, a rattlin’ twig, …(Chorus)

Verse 5And on that twig, there was a nest, a rare nest, a rattlin’ nest, …(Chorus)

Verse 6And in that nest, there was an egg, a rare egg, a rattlin’ egg, …(Chorus)

Verse 7And in that egg, there was a bird, a rare bird, a rattlin’ bird, …(Chorus)

Verse 8And on that bird, there was a feather, a rare feather, a rattlin’ feather, …(Chorus)

Verse 9And on that feather, there was a flea, a rare flea, a rattlin’ flea, …(Chorus)

Creative Extension: Learn About the Bodhrán• A bodhrán is an Irish frame drum. Listen again to “O’ro the Rattlin’ Bog,” Track 7, which features the

bodhrán. Refer to SG8 for students to learn about the bodhrán.• Discuss what students notice about the sound of the bodhrán (e.g., it’s very rhythmic, it helps to keep the

beat in the music, it sounds high, it sounds low).• Look at the picture of Anne-Marie with a bodhrán on SG8.

• What do you notice about the drum? • Students can decorate their own bodhrán with Celtic symbols on SG8.

• Musical Word Wall

Add the words bodhrán, fast, slow, and steady beat to the Musical Word Wall.

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SG 6

Meet Anne-Marie!

Greetings from

Woodside

Dear Musical Explorers,

Welcome to Woodside!

This neighborhood is so

alive. It is full of churches,

restaurants, people walking

all around, and lots of places

to hear music. I have a

wonderful time with other

Irish musicians in Woodside.

I look forward to meeting

you soon!

Your friend,

Anne-Marie

Musical Explorers

c/o Carnegie Hall

881 Seventh Avenue

New York, NY 10019

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SG 7

What’s in a Bog?So many things live in the rattlin’ bog! Here are pictures of each one. Can you follow the pictures as you sing?

bog tree limb branch

nest egg bird feather flea

twig

This is a bog in Ireland.

Bogs collect water and

have lots of things livi

ng

and growing in them.

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SG 8

Learn About the BodhránAnne-Marie plays an Irish frame drum called the bodhrán. The bodhrán is the heartbeat of Irish music. This ancient drum is made with a wooden body and goat-skin head. It is played with a stick called a tipper or beater. Decorate the bodhrán with shapes and colors. You may also choose to use some of the Irish symbols shown below.

energy growth balance

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Unit 1 Lesson 2

Lesson 2: Exploring “Johnny’s Gone for Soldier”Aim: How can we explore musical and emotional opposites in “Johnny’s Gone for Soldier”?Summary: Students learn “Johnny’s Gone for Soldier” by exploring musical and emotional opposites.Materials: Musical Explorers CD, Musical Explorers Student Guide, chart paper, markers Time Required: 30 minutes (three 10-minute activities)Standards: US 1, 2, 3, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: emotions, mood

• Sing “Johnny’s Gone for Soldier”

• Listen to “Johnny’s Gone for Soldier,” Track 8.• Learn to sing the chorus.

• Find Emotional Opposites with “Johnny’s Gone for Soldier”

• Share the lyrics of “Johnny’s Gone for Soldier” with the students. Discuss the idea of how we feel when someone in our lives goes away.

• What emotions, or feelings, would you have if someone important to you had to leave for a long time?• Write down these emotion words on chart paper. This will be the beginning of the “Emotional Opposites” list.• Brainstorm opposites for each of these emotion words (e.g., sad/happy, gloomy/funny, serious/silly). • Have students demonstrate facial expressions to go with each word and draw them on SG9.

& bb 44 ˙ ˙Shule, shule,

œ œ œ .œ jœshule a gra, oh

œ œ œ œ œshule, oh shule and-

& bb œ œ .œ jœhe loves me. When

œ œ œ œ œ œhe comes back, he will

& bb œ œ œ œ ‰ jœmar ry me. My

Jœ .œ jœ œ jœJohn ny's gone for

œ œ œ ˙sol dier.- - -

Johnny's Gone for Soldier

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Unit 1 Lesson 2

Johnny’s Gone for Soldier

Oh I wish I were on yonder hillIt’s there I’d sit and cry my fillTill every tear would turn a millMy Johnny’s gone for soldier

Well, Johnny, my love, he went awayHe would not heed what I did sayHe won’t be back for many’s a dayMy Johnny’s gone for soldier

ChorusShule, shule, shule agraOh shule, oh shule, and he loves meWhen he comes back, he will marry meMy Johnny’s gone for soldier

I’ll sell my rack, I’ll sell my reelI’ll sell my only spinning wheelAnd buy my love a sword of steelMy Johnny’s gone for soldier I’ll dye my petticoats, I’ll dye them redAround the world I’ll bake my breadTill I find my love alive or deadMy Johnny’s gone for soldier (Chorus)

But now my love, he has gone to FranceTo try his fortune to advanceIf he returns, it is but a chanceMy Johnny’s gone for soldier (Chorus)

I wish, I wish, I wish in vainI wish I had my heart again’Tis gladly I would not complainMy Johnny’s gone for soldier (Chorus)

• Explore Mood in “Johnny’s Gone for Soldier” and “O’ro the Rattlin’ Bog”

• In music, we use the term “mood” to describe the emotion or feeling created by the music. • Listen to “Johnny’s Gone for Soldier,” Track 8.

• What do you hear in the song? Is it fast or slow? Loud or soft?• What is the mood of this song? How does the music reflect the mood? • What is the mood of “O’ro the Rattlin’ Bog”? How is it different from “Johnny’s Gone for Soldier”?

• Have students document their answers on SG10.• Have students choose a new mood for “Johnny’s Gone for Soldier” or “O’ro the Rattlin’ Bog” and sing a

version of the song that shows the change in mood.• Now that they have the new mood, have them perform their new version of the song and reflect on

their choices.• What did you do to create the new mood? Did it go faster or slower? Is it louder or softer? What other

changes were made?

Musical Word Wall

Add the words emotions and mood to the Musical Word Wall.

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SG 2

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SG 9

Exploring Emotions and Opposites in “Johnny’s Gone for Soldier”We can feel many emotions when we sing. Draw some emotions and their opposites on the faces below. Be sure to write what each emotion is!

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SG 2SG 10

Listening for Mood

“Johnny’s Gone for Soldier”

This song sounds …

fast or slowloud or soft

When I hear this song I feel

Draw the emotion that you feel on the face below.

“O’ro the Rattlin’ Bog”

This song sounds …

fast or slowloud or soft

When I hear this song I feel

Draw the emotion that you feel on the face below.

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Unit 2 Lesson 1Preparation

Unit 2: Colombian Music with Marta

Find Our Neighborhood (5 minutes)

The Conductor will now take us on a journey from Woodside, Queens, to Jackson Heights, Queens, to meet our next singer, Marta. Have students turn to SG11 and help them do the following:

• Locate Anne-Marie in Woodside, Queens.• Locate Marta on the map in Jackson Heights, Queens.• Complete the activity.

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SG 2

Find Marta’s Neighborhood Find Anne-Marie in Woodside, Queens, on the map. Next, find Marta in Jackson Heights, Queens. Complete the activity to continue our journey.

QUEENS

BRONX

BROOKLYN

MANHATTAN

Woodside

Jackson Heights

Anne-Marie sings music from I_EL__DAnne-Marie plays a drum called the B__H RÁ_The feeling or emotion created by music is called the M__D

Anne-Marie

Marta

SG 11

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Unit 2 Lesson 1Lesson 1

Lesson 1: Learning “Carnavaliando”Aim: How is melodic contour, or the movement of high and low pitches, used in the chorus of “Carnavaliando”?Summary: Students meet the artist, sing the song, and explore its high and low opposites in the chorus.Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 30 minutes (three 10-minute activities)Standards: US 1, 2, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: carnaval, contour, melody, pitch

• Meet Marta

• Meet Marta on SG12.

• Listen and Move to “Carnavaliando”

• Listen to the “Carnavaliando” chorus, Track 10, and learn to sing the chorus with Marta. Notice when the melody moves higher or lower.

• Demonstrate the contour or shape of the melody by adding movements as you sing the chorus.• How does the melody move? What we do with our bodies when the pitch is higher, and what we do when

the pitch is lower?• Play the full version of “Carnavaliando,” Track 9, and practice moving and singing along with Marta.

Remind students that their movements imitate their voices.

Carnavalito is a rhythm and a dance from the northwest of Argentina and the south of Bolivia. The rhythm is used in music surrounding Carnaval, a festive season of celebration in the community. The dance carnavalito is supposed to be danced with a group or with multiple partners. It combines dance elements from indigenous South American cultures and Spanish colonial culture.

32

Unit 2 Lesson 1

& ## 42 Œ œ œ œ3

La la la

œ œ œ œ œ œ3 3

la la la la la la

.œ œ œ œ œ œla la la la la

& ## œ œ œ œ œ œ3 3

la la la la la la

œ œ œ œ3

la la la la

œ œ œ œ œ œ3 3

la la la la la la

& ## .œ œ œ œ œ œla la la la la

œ œ œ œ œ œ3 3

la la la la la la

œ Œla

Carnavaliando

3

La la la

3 3

la la la la la la

la la la la la

3 3

la la la la la la

3

la la la la

3 3

la la la la la la

la la la la la

3 3

la la la la la la

la

Carnavaliando

3

La la la

3 3

la la la la la la

la la la la la

3 3

la la la la la la

3

la la la la

3 3

la la la la la la

la la la la la

3 3

la la la la la la

la

Carnavaliando

• Explore the Meaning of “Carnavaliando”

• Discuss the meaning of “Carnavaliando” with your students while looking at pictures of people celebrating Carnaval on SG13.

• The carnavalito is a rhythm that is meant to be played during Carnaval, which is the Spanish word for “festival.”

• What do you notice in these pictures? What are some of the ways that people are celebrating?

• Musical Word Wall

Add the words carnaval, contour, melody, and pitch to the Musical Word Wall.

33

SG 2

33

SG 12

Meet Marta!

Dear Musical Explorers,

Hello from Jackson Heights, Queens!

I am originally from Colombia. It is a

very musical country, and music was

always a part of my daily life. G

rowing

up, I sang in my school choir. My

school music teacher not only taught

me to sing, but to love and respect

music as well. I also play several

instruments, and the guitar is my

favorite. When you come to Carnegie

Hall, you’ll get to meet the rest of

my band too! See you soon!

Your friend,Marta

Musical Explorers

c/o Carnegie Hall

881 Seventh Avenue

New York, NY 10019

34

SG 2

Celebrating CarnavalHere are pictures of people celebrating Carnaval. What are some of the ways they are celebrating?

SG 13

35

Unit 2 Lesson 1Lesson 1Lesson 2

Lesson 2: Exploring “Tu Voz”Aim: How do we use improvised words differently than lyrics in songs?Summary: Students explore “Tu Voz” by listening for the made-up words and create their own “improvised” sounds or made-up words to accompany a song.Materials: Musical Explorers CD, chart paper, markersTime Required: 20 minutes (two 10-minute activities)Standards: US 1, 2, 3, 4, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: improvise, lyrics, pattern

• Explore Improvised Sound Patterns in “Tu Voz”

• Listen to the chorus of “Tu Voz,” Track 12.• What sounds do you hear Marta repeating in a pattern? • In some parts of “Tu Voz,” Marta improvises different sound patterns, which means she makes the words

up on the spot. • Why do you think she sometimes chooses to use made-up sounds instead of actual words?• Do you ever invent words to sing or say?

• Record the sound pattern lyrics on chart paper and invite the students to sing along with Marta.

• Create and Improvise Sound Patterns

• Brainstorm a list of sounds or syllables that you can use to improvise while singing and write them on chart paper. Add these new sounds or syllables to the ones you identified earlier in “Tu Voz.”

• We can also use other vocal sounds or made-up words to improvise while singing.• Listen to the full version of “Tu Voz,” Track 11. Have students listen for other sounds Marta uses as

she improvises (e.g., “ah,” “yoyo,” “de,” “laila,” “nono,” “lay”). Add these sounds to the list.• In small groups, create several new patterns using combinations of sounds from the list.

Students can record these patterns on SG14. Share patterns with the class.• Listen again to the full version of “Tu Voz,” Track 11, and sing along during the chorus. Invite students

to improvise or perform their group sound patterns along with Marta’s improvisations.

• Musical Word Wall

Add the words improvise, lyrics, and pattern to the Musical Word Wall.

36

SG 2SG 14

Make Your Own Sound PatternsMarta sings sounds like “ta,” “ka,” and “que.” What other sound patterns can you create?

37

Unit 3 Lesson 1Lesson 1Preparation

Unit 3: South African Music with Tshidi

Find Our Neighborhood (5 minutes)

The Conductor will now take us on a journey from Jackson Heights, Queens, to Morningside Heights, Manhattan, to meet our next singer, Tshidi. Have students turn to SG15 and help them do the following:

• Locate Marta in Jackson Heights, Queens.• Locate Tshidi in Morningside Heights, Manhattan.• Complete the activity.

38

Find Tshidi’s Neighborhood Find Marta in Jackson Heights, Queens, on the map. In the maze below, draw the path to Tshidi in Morningside Heights, Manhattan.

QUEENS

BROOKLYN

MANHATTAN

BRONX

MorningsideHeights

Jackson Heights

Marta

Tshidi

SG 15

39

Unit 3 Lesson 1

Lesson 1: Learning “Thula Mdwana”Aim: How can we sing alone and with others on “Thula Mdwana”?Summary: Students explore ensemble singing while learning the first half of “Thula Mdwana.”Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 40 minutes (four 10-minute activities)Standards: US 1, 2, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: call and response, duet, harmony, solo

• Meet Tshidi

• Meet Tshidi on SG16.

• Listening for Mood in “Thula Mdwana”

• Listen to “Thula Mdwana,” Track 13. There are two parts to the song, each expressing a slightly different mood or feeling. Encourage students to listen for when and how the mood changes.

• The first part of the song is music that a babysitter sings to children to comfort them when their parents leave them alone.

• What in the music tells us that the parents have returned home? What moods do you hear in the second part of the song?

• Learn the chorus of “Thula Mdwana” through call and response, Track 15. Call and response is a common way to learn a new song. One person sings part of the song, and another person repeats it, and so on.

• Practice the song with the call-and-response tracks until students are comfortable singing the song.

Voice Thu la, thu la mdwa na

thu la thu la mdwa na

thu la, thu la mdwa na

thu la.- - - - - - - - - - - -

Thula Mdwana

South African song

40

Unit 3 Lesson 1

• Create Movement to “Thula Mdwana”

• In “Carnavaliando,” we used hand motions to show the high and low notes on our bodies. We can also use hand motions to express an action or emotion.

• Teach the students the hand motions for the second half of “Thula Mdwana,” Track 13. Students can also look at the motions on SG17.

• Create an enactment of the parents’ homecoming with students. Perform along with Track 13, alternating the groups so that students get a chance to act out each part.

Tshidi additional

Tshidi additional part 2

• Explore Solo and Duet in “Thula Mdwana”

• Listen to Tshidi’s solo version of “Thula Mdwana,” Track 14. • A solo is when one person makes music alone.

• Compare to the duet version with Tshidi and Bongi, Track 13. • A duet is when two people make music together. • How does the duet version sound different from the solo version?• The sound of two voices together is called harmony.

• Musical Word Wall

Add the words call and response, duet, harmony, and solo to the Musical Word Wall.

41

Unit 2 Lesson 1

41

SG 2

Meet Tshidi!Morningside Heights

Dear Musical Explorers,

Have you heard of the Broadway

musical called The Lion King? I sing

in that show! I live in Morningside

Heights, but I grew up far away,

in a country called South Africa.

When I was your age, I sang all

the time, and even made instruments

from things that I found in my

neighborhood. I really enjoy making

music with my friends, so I have

invited my pals Bongi and Junior to

perform with me at Carnegie Hall.

Write to me and let me know what

you think about the concert!

Your friend,

Tshidi

Musical Explorers

c/o Carnegie Hall

881 Seventh Avenue

New York, NY 10019

SG 16

42

Move with Tshidi!Can you do the motions to “Thula Mdwana”?

1.

2.

3.

4.

SG 17

43

Unit 3 Lesson 2

Like “Thula Mdwana,” “Inqola” also comes from South Africa and is sung in a language called Zulu. This is one of the many languages spoken in South Africa, and the language has several unique sounds. Tshidi and Bongi are from South Africa and speak Zulu. They use these sounds when they sing and perform their music.

Lesson 2: Exploring “Inqola”Aim: How do we layer many voices and sounds in “Inqola”?Summary: Students learn sounds from the Zulu language and make musical layers with them. Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 20 minutes (two 10-minute activities)Standards: US 1, 2, 3, 4, 5, 6, 7, 9; NYC 1, 2, 3, 4, 5Vocabulary: musical layers, pattern, Zulu

• Find Patterns in “Inqola”

• Listen to the call-and-response version of the “Inqola” chorus, Track 17. Practice singing the “too-loo-loo-loo-loo” chorus with Tshidi until students are comfortable with the melody.

• Invite students to describe or perform the patterns they notice. • Listen to the full version of “Inqola,” Track 16, and encourage students to find other sounds that repeat.

• Create Musical Layers in “Inqola”

• Listen to the three Zulu sounds on Tracks 18, 19, and 20. Ask students to repeat after the sounds to learn each sound.

• Listen to “Inqola” again, Track 16, this time asking students to listen for layers of musical instruments or voices.

• When we hear lots of different sounds and voices playing together at the same time to create music, we call this musical layers.

• What sounds do you notice in “Inqola” that you didn’t notice before?• Which Zulu sounds do you hear?• What instruments or other musical layers do you hear?• In groups, invite students to create their own patterns of the Zulu sounds and share them with the class.

44

Unit 3 Lesson 1

• Musical Word Wall

Add the words musical layers and Zulu to the Musical Word Wall. Review the word pattern.

Creative Extension: Layer Zulu Sound PatternsDivide the class into small groups and assign roles as percussionists, soloists, and the musical leader.

• Invite them to create their own patterns of the Zulu sounds and add layers of body percussion (e.g., clapping, snapping, or tapping on the body).

• Ask students to share their new patterns with the rest of the class.

45

Concert PreparationConcert Preparation

The First Concert• Review the diverse artists the students have encountered so far this fall.

— Anne-Marie (Irish music)— Marta (Colombian music)— Tshidi (South African music)

• Look at SG18 and have students find the countries represented on the map.• What do you remember about the artists and their music? Brainstorm a list of responses with

the students.• Listen to a brief excerpt by each of these artists on the Musical Explorers CD.

• What musical opposites have we learned from these artists?• As a class, brainstorm some questions the students could consider during the concert. Have the students

try to answer the questions for one another after attending the performance.• Lead a discussion with students about the roles of performer and audience member (or listener)

during a concert. Brainstorm ideas about these roles and document them on chart paper. Have students narrow down the list by voting on their favorite two ideas per role.

• Divide the class in half, with one half acting as performers and the other half acting as audience members for a song from Musical Explorers. Facilitate a reflective discussion with students about how each group did. Invite the groups to share one aspect of what they liked and one thing that could be improved for themselves and the other group. Perform the song again, switching so that the students take on the opposite role. Repeat the reflection.

• Let’s Go to Carnegie Hall (5 minutes)

The Conductor now takes us from each of our artists’ neighborhoods to Carnegie Hall in Manhattan, where we will meet and hear our singers, Anne-Marie, Marta, and Tshidi. Have students turn to SG19 and help them do the following:

• Find Anne-Marie in Woodside, Queens; Marta in Jackson Heights, Queens; and Tshidi in Morningside Heights, Manhattan.

• Find Carnegie Hall in Manhattan.• Complete the maze that takes each of them from their neighborhoods to Carnegie Hall.

46

SG 18

Rolando

Where Are the Countries that We Have Learned About?The artists came from different places but now live in New York City—just like you!

Anne-Marie Marta Tshidi

4747

Find Carnegie Hall Find Anne-Marie in Woodside, Queens; Marta in Jackson Heights, Queens; and Tshidi in Morningside Heights, Manhattan. In the maze, draw the path from each of them to Carnegie Hall in Manhattan. Let’s go!

BROOKLYN

QUEENS

BRONX

Morningside Heights

Tshidi

Woodside

Jackson Heights

SG 19

Marta

Anne-Marie

MANHATTAN

Carnegie Hall

48

What Did You See and Hear at Carnegie Hall?Draw pictures of your trip to Carnegie Hall below.

SG 20

49

SG 21

Who Is Your Favorite Artist?Write a letter to your favorite artist. Be sure to include your favorite part of the concert and your favorite song from the concert.

Dear ,

Your friend,

50

Unit 4 Preparation

Semester 2: Units 4–6

Unit 4: African American Gospel Music and Spirituals with Andrea and Puma

Find Our Neighborhood (5 minutes)

The Conductor now takes us on a journey from Carnegie Hall to Harlem, Manhattan, to meet our first singers for this semester, Andrea and Puma. Have students turn to SG22 and help them do the following:

• Find Carnegie Hall in Manhattan.• Find Andrea and Puma in Harlem, Manhattan.• Complete the activity.

51

SG 2

51

MANHATTAN

BROOKLYN

QUEENS

BRONX

Find Andrea and Puma’s NeighborhoodIt’s time for the next stop on our trip! Find Carnegie Hall on the map and then find Andrea and Puma in Harlem, Manhattan. Then complete the activity below.

Harlem

L K P S X P L U C SX A O M N X L S W PH L V J F U Y L T IO S P A Z E T E V RD O O M N X N K Z IF O S Y Z R K S Q TD C B L U S A X Q UU B S A I C M C J AE S F Q L C F O K LT K D L W Q U O N U

CARNAVAL DUETMOOD SOLO SPIRITUAL ZULU

Carnegie Hall

SG 22

Andrea Puma

52

Unit 4 Lesson 1

Lesson 1: Learning “This Train Is Bound for Glory”Aim: What musical opposites can we find in “This Train Is Bound for Glory”? Summary: Students meet the artist, explore the meaning of the song, and review musical opposites of dynamics (loud/soft) and tempo (fast/slow).Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 30 minutes (three 10-minute activities) Standards: US 1, 2, 3, 5, 6, 7, 9; NYC 1, 2, 3, 4, 5Vocabulary: dynamics, gospel music, spiritual, tempo

• Meet Andrea and Puma

• Meet Andrea and Puma on SG23.

• Sing “This Train Is Bound for Glory”

• Listen to “This Train Is Bound for Glory,” Track 21.• Now listen to the first verse of “This Train Is Bound for Glory,” Track 22, and sing along with Andrea

and Puma.

& bbb 42 jœ œ jœThis train is

œ œ œ œ œ3

bound for glo ry

œ œ œthis train

˙-

& bbb5

Jœ œ JœThis train is

.œb œ œ œbound for glo ry

œ œ œ œthis tra in

˙--

& bbb9

Jœ œ JœThis train is

.œ œ œ œbound for glo ry,

œ œ œ œb œ œdon't ride noth in' but the

œ œ œ œ œb œright eous and ho ly- - - -

& bbb13 œœb œœ

Oh, oh,

œœ œœ œœ œœoh, talk in' 'bout

œœb œœ œœnthis train

˙̇-

This TrainTraditional

©

53

Unit 4 Lesson 1

• Explore Musical Opposites in “This Train Is Bound For Glory”

• Review the musical opposites learned in the fall. Listen for loud/soft dynamics and fast/slow tempos in “This Train Is Bound for Glory,” Track 21.

• Discuss the sounds that you hear a train make in your neighborhood. Brainstorm some of the “opposite” sounds you might hear a train make.

• What is a soft train sound (e.g., the rumble of a distant train)?• What is a loud train sound (e.g., a train whistle or wheels screeching)?• What is a slow train sound (e.g., the sounds of the wheels starting)? • What is a fast train sound (e.g., the whoosh of the train whizzing by)?

• Once you have decided on four contrasting train sounds, create a musical train. Divide the class into four groups and assign each group a train sound. Point to each group when you want them to start, gradually adding new sounds. Indicate when each group should stop making their sound. Remember to focus on musical opposites of loud/soft or fast/slow.

• Sing “This Train Is Bound for Glory,” Track 21, adding in your own musical opposites.

This Train Is Bound for GloryThis train is bound for glory, this train,This train is bound for glory, this train,This train is bound for glory,Don’t ride nothin’ but the righteous and holyOh, oh, oh, talkin’ ’bout this train.

This train don’t carry no liars, this train,This train don’t carry no liars, this train,This train don’t carry no liars, no hypocrites, and no high flyers.Oh, oh, oh, talkin’ ’bout this train.

This train has left the station, this train,This train has left the station, this train,This train has left the station, this train takes on every nation.Oh, oh, oh, talkin’ ’bout this train.

This train is built for speed, this train,This train is built for speed, this train,This train is built for speed, fastest train that you ever did see,Oh, oh, oh, talkin’ ’bout this train.

This train is bound for glory, this train,This train is bound for glory, this train,This train is bound for glory,Don’t ride nothin’ but the righteous and holyOh, oh, oh, talkin’ ’bout this train.

“This Train Is Bound for Glory” is written in a style of American folk music called gospel. Gospel music has diverse roots, but was influenced by African American spirituals, which were songs originally sung by African American slaves to express their emotions during times of difficulty. Influences of folk music and call-and-response church music are also present in gospel. There is often a repetitive quality to the music. For more information, explore HONOR! A History of African American Music in Carnegie Hall’s Digital Library (carnegiehall.org/honor/history).

54

• Musical Word Wall

Add the words dynamics, gospel music, spiritual, and tempo to the Musical Word Wall.

Unit 4 Lesson 1

Creative Extension: Explore Meaning in “This Train Is Bound for Glory”• What does “glory” mean? Ask students to imagine a glorious place. (Common definitions of glory include

great beauty and splendor; praise, honor, or distinction; a height of achievement).• Turn to SG24 and draw a train. Imagine that the train is headed for a glorious place and include an

image in the picture to represent this special place. Share your work with Carnegie Hall (musicalexplorers@carnegiehall.org).

• Listen again to “This Train Is Bound for Glory,” Track 21, and sing along.

5555

Meet Andrea and Puma!

Dear Musical Explorers,Hello from Harlem! We’ve been singing our whole lives and are excited to share some of our favorite songs with you at the Musical Explorers concert. We love

to sing all kinds of music, including opera, musical theater, gospel music, and spirituals. Let us know which of our songs you like to sing the most. See you soon at Carnegie Hall!Sincerely,

Andrea and Puma

Musical Explorersc/o Carnegie Hall

881 Seventh AvenueNew York, NY 10019

SG 23

56

This Train Is Bound for GloryDraw a train. Imagine that the train is headed for a glorious place and include an image to represent this special place.

SG 24

57

Unit 4 Lesson 2

Lesson 2: Exploring “Follow the Drinking Gourd”Aim: What is the hidden meaning in “Follow the Drinking Gourd”?Summary: Students explore the hidden meaning of “Follow the Drinking Gourd” and create secret directions for finding their own school.Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 30 minutes (two 15-minute activities)Standards: US 1, 2, 4, 5, 6, 7, 9; NYC 1, 2, 3, 4, 5Vocabulary: gourd, Underground Railroad

• Sing “Follow the Drinking Gourd”

• Listen to “Follow the Drinking Gourd,” Track 23.• Learn to sing the chorus of the song using Track 24.

& b 44 œ œ ˙ œ œFol low the

œ œ œ œ ˙dri nkin' gourd.

œ œ ˙ œ œFol low the- --

& b œ œ œ œ œ œ œdri nkin' gourd. For the

œ œ œ œ œ œ œ œold man is a wait in' for to

œ œ œ œ œ œ "œ œcar ry you to free dom if you- - - - -

& b œ œ œ œ œ œ œfol low the dri nkin'

wgourd.- -

Follow the Drinkin' GourdTraditional

©

• Explore the Hidden Meaning in “Follow the Drinking Gourd”

• Listen to “Follow the Drinking Gourd,” Track 23.• Besides the drinking gourd, what are some of the other clues hidden in the words of the song?

• Focus on any musical opposites (e.g., dynamics or pitch opposites) that you hear in the song, and sing along with the chorus, Track 23.

58

Unit 4

Slaves were people who were bought and sold as property and forced to work for another person without pay or basic rights. They sang because they were not allowed to do other things, like learn to read or write.

Slaves often wrote songs that had hidden meanings. Many times these songs provided clues to help other slaves escape from captivity.

In the 19th century, the Underground Railroad helped slaves from the United States to escape to free states and Canada through a network of secret routes and safe houses. “Follow the Drinking Gourd” was a song used in the Underground Railroad to help give directions to the escaping slaves.

The “drinking gourd” was the name for a hollow gourd that the slaves would use to collect water. However in this song, it is also a code name for the Big Dipper—a constellation of stars that helped escaping slaves figure out which direction to travel.

Lesson 2

Follow the Drinking Gourd

ChorusFollow the drinking gourdFollow the drinking gourdFor the old man is a-waitingFor to carry you to freedomIf you follow the drinking gourd.

Verse 1When the sun comes back1

And the first quail2 callsFollow the drinking gourdFor the old man3 is a-waitingFor to carry you to freedomIf you follow the drinking gourd. (Chorus)

Verse 2The riverbed makes a very good roadDead trees4 will show you the wayLeft foot, peg foot5 traveling onIf you follow the drinking gourd. (Chorus)

Verse 3The river ends between two hillsFollow the drinking gourdThere’s another river on the other sideIf you follow the drinking gourd.(Chorus)

Verse 4I thought I heard the angels sayFollow the drinking gourdThe stars are in the HeavensGonna show you the wayIf you follow the drinking gourd. (Chorus)

1 “When the sun comes back” means when the days become longer in the spring.2 “First quail” refers to the quail of Alabama who start calling to each other during mid-April.3 “The old man” is code for the Captain of the Underground Railroad.4 “Dead trees” refers to the trees that the Captain would mark with the outline of a human foot along the journey.5 “Left foot, peg foot” refers again to the Captain, Peg Leg Joe, who helped slaves to escape, and was said to have one wooden leg.

59

Unit 4 Lesson 2

Literacy Link“Follow the Drinking Gourd” by Jeanette Winter tells the story of Captain Peg Leg Joe, who aids slaves on their escape on the Underground Railroad.

You can visit followthedrinkinggourd.org to learn more about “Follow the Drinking Gourd.”

• Musical Word Wall

Add the words gourd and Underground Railroad to the Musical Word Wall.

Creative Extension: Create Your Own Code Messages • If you wanted to use code words to help someone find your school, which clues would you use?

• On SG25, create an original verse for “Follow the Drinking Gourd” using these new secret directions for finding your school.

• What is a code name for the playground (e.g., the green creature)? • What is a code name for your school building (e.g., a giant fort)?• What is a code name for the street (e.g., a long trail)?• What is a code name for the people inside (e.g., laughing voices)?

• On SG26, draw pictures of important landmarks around your school and use your code words to mark these places on the map.

60

My Secret Code

Verse 1

When you see the (code name for the playground)

And you see the (code name for the school building)

Follow the drinking gourd.

Chorus

Follow the drinking gourdFollow the drinking gourdFor the old man is a-waitin’For to carry you to freedomIf you follow the drinking gourd.

Verse 2

The makes a very good road (code name for the street)

will show you the way (code name for the people)

Follow the drinking gourd.

(Chorus)

SG 25

61

My Secret MapDraw pictures of important landmarks around your school and use your code words to mark these places on the map.

(code name for the people)

(code name for the school building) (code name for the street)

SG 26

(code name for the playground)

62

Unit 5 Lesson 1

Unit 5: Russian Music with Sasha

• Find Our Neighborhood (5 minutes)

The Conductor will now take us on a journey from Harlem, Manhattan, to Brighton Beach, Brooklyn, to meet our next singer, Sasha. Have students turn to SG27 and help them do the following:

• Locate Andrea and Puma in Harlem, Manhattan.• Locate Sasha in Brighton Beach, Brooklyn.• Complete the activity.

6363

Find Sasha’s Neighborhood Find Andrea and Puma in Harlem, Manhattan, on the map. In the maze below, draw the path to Sasha in Brighton Beach, Brooklyn. Let’s go!

QUEENS

BROOKLYN

MANHATTAN

BRONX

STATEN ISLAND

Brighton Beach

Sasha

Harlem

SG 27

Andrea Puma

64

Unit 5 Lesson 1

Lesson 1: Learning “Kalinka”Aim: How are separated (staccato) and smooth (legato) sounds used in “Kalinka”? Summary: Students learn to sing “Kalinka” and explore musical elements of staccato and accelerando. Materials: Musical Explorers CD, Musical Explorers Student GuideTime Required: 30 minutes (three 10-minute activities)Standards: US 1, 2, 3, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: accelerando, legato, staccato

• Meet Sasha

• Meet Sasha on SG28.

• Sing “Kalinka”

• Listen to “Kalinka,” Track 25, and learn to sing the chorus along with Sasha. • Listen again the “Kalinka” chorus, Track 26. This time notice how the music gets faster as the word

kalinka is repeated. In music, speeding up like this is called an “accelerando.”

& 42 ..Œ œU

Ka

œ œ œlin ka, ka

œ œ œlin ka, ka

œ œ œlin ka ma

œ œ œya, vsa du- - - - - - --

& ..6

œ œ œ œ œya go da ma

œ œ œlin ka, ma

œ œ œlin ka ma

1.

œ œya. Ka

2.

œ Œya- - - - - - - -

KalinkaTraditional (Russian)

©

arr. Sasha Papernik

CHORUS

The song refers to Lyuli, an ancient Slavic goddess of nature. A kalinka is a type of berry that is being offered as a gift to Lyuli.

65

Unit 5 Lesson 1

• Move to “Kalinka”

• Listen to the full version of “Kalinka,” Track 25, again. Notice the short, separated sounds (staccato) in the chorus.

• In music, smooth sounds are called “legato.” Short sounds are called “staccato.”• Have students come up with their own movements for “Kalinka.”

• When do you hear short, separated sounds in the music? This is called staccato.• When do you hear smooth, connected sounds in the music? This is called legato.• What movements can we create to show when the music is staccato or legato? • What movements can we use to show when the music gets faster or has an accelerando?

• Musical Word Wall

Add the words accelerando, legato, and staccato to the Musical Word Wall.

66

Meet Sasha!

Dear Musical Explorers,

Hello! My name is Sasha. I live in Brighton Beach, Brooklyn, but I am originally from Russia. I started playing the piano and singing when I was your age. My mother taught me the songs you are going to learn. When I hear them, I imagine that I am walking in a bright Russian forest under the pines and the birch trees. I hope you will enjoy learning and singing these songs, and I am so excited to meet you all at Carnegie Hall in the spring!

‘Til then, Sasha

Musical Explorers

c/o Carnegie Hall

881 Seventh Avenue

New York, NY 10019

SG 28

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Unit 5 Lesson 1Unit 5 Lesson 2

Lesson 2: Exploring “The Birch Tree” Aim: What is the scene that is described in “The Birch Tree”?Summary: Students learn to sing and move to “The Birch Tree” and learn about the balalaika. Materials: Musical Explorers CD, Musical Explorers Student Guide, hollow container, elastic bandsTime Required: 30 minutes (three 10-minute activities)Standards: US 1, 2, 3, 5, 6, 7, 8, 9; NYC 1, 2, 3, 4, 5Vocabulary: balalaika

• Sing “The Birch Tree”

• Listen to Sasha sing “The Birch Tree,” Track 27.• Listen to “The Birch Tree” pronunciation, Track 28, and practice saying the lyrics to the bolded refrains

on page 68 with Sasha.• Listen to “The Birch Tree,” Track 27, again. Sing along with Sasha on the bolded refrains.

& 42 œ œ œ œVo po le be

œ œ œre za sto

œ œya la,

∑ œ œ œ œvo po le ku- - - - - - -

&6

œ œ œ œdrya va ya sto

œ œya la.

∑ .œ jœLyu li,

œ œ œlyu li, sto- - - - - - -

&11

œ œya la,

∑ .œ jœlyu li,

œ œ œlyu li, sto

œ œya la.- - - - -

"The Birch Tree"Traditional (Russian)

©

Score

Sasha Papernik

LEADER

GROUP

68

Unit 5 Lesson 2

The Birch Tree

Vo pole bereza stoyala,Vo pole kudryavaya stoyala,Lyuli-lyuli, stoyala,Lyuli-lyuli, stoyala. Nekomu beryozu zalomati,Nekomu kudryavu zalomati,Lyuli-lyuli, zalomati,Lyuli-lyuli, zalomati. Kak poydu ya v’les pogulyayu,Beluyu berezu zalomayu,Lyuli-lyuli, zalomayu,Lyuli-lyuli, zalomayu. Srezhu ya’ s berezyi tri prutochka,Sdelayu iz nih ya tri gudochka,Lyuli-lyuli, tri gudochka,Lyuli-lyuli, tri gudochka. Ah chetvertuyu, balalaiku,Ah chetvertuyu, balalaiku,Lyuli-lyuli, balalaiku,Lyuli-lyuli, balalaiku.

In the field stood a birch tree,In the field stood a curly birch tree,Lyuli-lyuli, it stood,Lyuli-lyuli, it stood. There is no one to bend down the birch tree,There is no one to bend down the birch tree,Lyuli-lyuli, to bend down, Lyuli-lyuli, to bend down. I will take a walk in the forest,I will bend down the white birch tree,Lyuli-lyuli, I will bend it down,Lyuli-lyuli, I will bend it down. I will cut three branches from the birch tree, I will make three whistles out of them,Lyuli-lyuli, three whistles,Lyuli-lyuli, three whistles. And the fourth, I will make a balalaika,And the fourth, I will make a balalaika, Lyuli-lyuli, balalaika,Lyuli, lyuli, balalaika.

• Explore Staccato and Legato with Sasha

• Listen again to “The Birch Tree,” Track 27. • Do you hear staccato sounds (like in “Kalinka”) or legato sounds?• How would you move to “The Birch Tree”?

• Review “Kalinka” by listening, singing along, and moving.• How is the music different in “Kalinka” than in “The Birch Tree”?• How are your movements in “Kalinka” different from the movements you created for “The Birch Tree”?

Did you know that Tchaikovsky used the melody from “The Birch Tree” in the final movement of his Symphony No. 4?

Go online to wikipedia.org/wiki/Symphony_No._4_(Tchaikovsky) and listen to the fourth movement to see if you can hear this melody hidden in the orchestral piece. Listen to how the melody changes throughout the movement, and for long and short sounds in the music.

69

Unit 5 Lesson 2

Creative Extension: Make Your Own Balalaika• Use a hollow container without a top (e.g., an empty tissue box). • Collect rubber bands of different sizes.

• Look at the bands you have chosen. • What are some of the opposites you notice? (e.g., long/short, thick/thin) • How will these opposites affect the sound? Make some predictions.

• Stretch three to six rubber bands of different lengths and thicknesses around the container. Pluck the strings to hear the different pitches. Try to organize the strings in pitch order from high to low or low to high.

• Which strings make low sounds? • Which strings make high sounds?

• Try plucking or strumming your balalaika as you listen and sing along to “The Birch Tree,” Track 27.

• Musical Word Wall

Add the word balalaika to the Musical Word Wall.

• Learn About the Balalaika

• The balalaika is a traditional Russian string instrument that is mentioned in “The Birch Tree.” The song describes using the wood from the birch tree to build a balalaika.

• Listen to the sound of the balalaika, Track 29, and have students describe the way it sounds. • Learn about the balalaika and color the picture of the instrument on SG29.

The BalalaikaThe balalaika is a string instrument used in Russian folk music. It comes in many sizes and has three strings and a triangle-shaped body. Decorate the balalaika below with your favorite colors, shapes, and patterns.

SG 29

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71

Unit 6 Preparation

Unit 6: Brazilian Music with Nanny

Find Our Neighborhood (5 minutes)

The Conductor now takes us on a journey from Brighton Beach, Brooklyn, to Little Brazil, Manhattan, to meet our final singer, Nanny. Have students turn to SG30 and help them do the following:

• Locate Sasha in Brighton Beach, Brooklyn.• Locate Nanny in Little Brazil, Manhattan.• Complete the activity.

72

Find Nanny’s Neighborhood Find Sasha in Brighton Beach, Brooklyn. Next, find Nanny in Little Brazil, Manhattan. Complete the activity to take us from Sasha to Nanny. Let’s go!

QUEENS

BROOKLYN

BRONX

MANHATTAN

STATEN ISLAND

Little Brazil

Nanny

Sasha

Brighton Beach

SG 30

Sasha sings music from R_S_I_

A Russian instrument with three strings is the

_AL_LAI_AMusic that is smooth and connected is called

L__AT_

73

Unit 6 Lesson 1Unit 6

Lesson 1: Learning “Paranauê”Aim: How can we explore solo and group performance by singing and moving to “Paranauê”?Summary: Students learn to sing and play capoeira to “Paranauê.”Materials: Musical Explorers CD, Musical Explorers Student GuidesTime Required: 30 minutes (three 10-minute activities)Standards: US 1, 2, 3, 5, 6, 7, 9; NYC 1, 2, 3, 4, 5Vocabulary: capoeira, echo, rhythm, solo

• Meet Nanny

• Meet Nanny on SG31.

• Sing “Paranauê”

• Listen to “Paranauê,” Track 30. Notice how Nanny sings the chorus solo and then many voices echo. • Practice singing the chorus echo in “Paranauê” with Nanny, Track 31.• Have students take turns as the leader or soloist while the class continues to echo.

& #### 44 ..œ œ œ œ ˙Pa ra na uê,

œ œ œ .œ œ œ œPa ra na uê, Pa ra ná

œ œ œ œ ˙Pa ra na uê,

œ œ œ .œ œ œ œPa ra na uê, Pa ra ná- - - - - - - - - - - - - - - -

ParanaueTraditional

arr. Nanny Assis

©

SOLO GROUP

Rio Paraná is is a river that runs through Brazil, Paraguay, and Argentina—it is 3,032 miles long! In the Tupi language, Paraná means “river” and auê is a salutation, meaning “hail.” Paranauê means “hail to the river.”

Slaves in Brazilian history looked for freedom beyond the Rio Paraná, and this song is a tribute to the river and what it represented to the slaves. Music was an essential part of life for slaves in Brazil, just as it was for the African slaves in America as we learned from Andrea and Puma.

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Lesson 1Unit 6

• Learn Capoeira Movements to “Paranauê”

• Look at pictures of people doing capoeira on SG32.• Learn some traditional capoeira dance moves including the ginga steps. • Practice doing your new capoeira moves while listening to “Paranauê,” Track 30.

Capoeira was a secret form of martial arts that was hidden within dance, music, and craft making. Created by slaves in Brazil, they would hide secret meanings and native culture within their music and dance, just as the African American slaves did.

Visit the New York City Capoeira Center’s website, newyorkcapoeiracenter.com, for more information about capoeira.

Paranauê

Paranauê, Paranauê, ParanáVou dizer minha mulher, ParanáCapoeira me venceu, Paraná. Paranauê, Paranauê, ParanáEla me bateu pé firme, ParanáIsso nunca aconteceu, Parará. Paranauê, Paranauê, ParanáA mulher pra ser bonita, ParanáNao precisa se pintar, Paraná. Paranauê, Paranauê, ParanáA pintura eh do artista, ParanáA beleza eh Deus que dá, Paraná.

Hail to the river, ParanáI’ll tell my wife, ParanáThat capoeira won, Paraná.

Hail to the river, ParanáIt wanted to stamp its foot hard, ParanáThis did not happen, Paraná. Hail to the river, ParanáFor a woman to be beautiful, Paraná She doesn’t need to paint herself, Paraná.

Hail to the river, Paraná A painting is by an artist, ParanáBeauty is given by God, Paraná.

• Musical Word Wall

Add the words capoeira, echo, and rhythm to the Musical Word Wall. Review the word solo.

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SG 2SG 31

Meet Nanny!

Dear Musical Explorers,

I was born in Brazil, but now I live in Manhattan. When I was a boy, I became interested in music by performing in my church on Sundays. By the time I was a teenager, I was playing all kinds of fun musical styles, like bossa nova, jazz, and samba! I also love all the different kinds of instruments that we use in Brazilian music. What is your favorite kind of music? I can’t wait to sing with you all at Carnegie Hall!

Sincerely,Nanny

Musical Explorers

c/o Carnegie Hall

881 Seventh Avenue

New York, NY 10019

Greetings from

Little Brazil

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SG 32

Learn Capoeira Movements to “Paranauê”

Ready Position

1. Feet apart

2. Knees bent

3. Arms stacked in front of chest

1. Step left leg back

2. Cross left arm in front

1. Step right leg back

2. Cross right arm in front

Ready position again!

Ready Position Ready PositionGinga Left Ginga Right

Ready position again!

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Unit 6 Lesson 2

Lesson 2: Exploring “Magalenha”Aim: How are instruments layered together to create the Brazilian forró rhythm?Summary: Students will learn to sing “Magalenha” and explore the instruments commonly heard in Brazilian forró.Materials: Musical Explorers CD, Musical Explorers Student Guide, materials for making instrumentsTime Required: 20 minutes (one 20-minute activity)Standards: US 1, 2, 3, 5, 6, 7, 9; NYC 1, 2, 3, 4, 5Vocabulary: cajón, forró, pandeiro, triangle

• Learn About Forró Instruments in “Magalenha”

• Listen to “Magalenha,” Track 32.• What instruments do you hear in the song?• What musical opposites do you hear?

• Many interesting instruments are used in Brazilian forró music. Look at the pictures and descriptions of the pandeiro, cajón, and triangle on SG33.

• Listen to each instrument on Tracks 33, 34, and 35. As you listen to each individual instrument, notice the different sounds that each instrument makes.

• Listen to the three instruments layering their forró patterns together on Track 36. • What do you notice when the instruments are layered together?

• Encourage students to clap or tap along to a rhythm they hear while listening to the repeating pattern. • Experiment with the opposite of one versus many. Everyone should clap or tap along to the rhythm

initially. Then the teacher should point to one student to have a “solo” for a few beats. Then the teacher can conduct everyone to rejoin.

Forró is a style of Brazilian music and dance. One of the theories behind the name forró is that it is derived from the English “for all,” and that it refers to a kind of music and dance that is intended for everyone. Another accepted theory is that forró means “great party” or “commotion.”

Unit 6

78

Lesson 2

• Musical Word Wall

Add the words cajón, forró, pandeiro, and triangle to the Musical Word Wall.

Creative Extension: Make Your Own Forró InstrumentsMake or find instruments similar to the ones that are used in the Brazilian forró. Play along with them while listening to Nanny’s recordings.

Make Your Own Pandeiro (Tambourine)Materials: disposable plastic bowls, ribbon cut into several pieces, small metallic objects that jingle and have holes in the middle (e.g., metal washers, jingle bells), hole puncherDirections: Punch several holes around the sides of the plastic bowl. Tie more than one metal object together on each piece of ribbon, so that they create a jingling sound. Then, tie the other end of the ribbons onto the holes of the plastic bowls. Experiment with the different ways you can create sound on these instruments.

Make Your Own Cajón (Drum)Materials: large container (e.g., plastic garbage pail, sturdy paper box, plastic bucket) Directions: Turn the container upside down so that you are able to hit both the top of the drum as well as the sides. Experiment with the different sounds you can make using your hand, depending on where you strike the object and how you strike it. If the container is large and sturdy enough, the player can sit on it, just as the player will in Nanny’s group.

Make Your Own Triangle or BellMaterials: stick, small metallic objects, string Directions: Suspend the metallic object with a string so that you can hold it without actually touching the metal (an alternative would be to use a metallic object that has a handle, like a small cooking pot). Experiment with the types of sticks you use to create different sounds.

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SG 33

Brazilian Percussion InstrumentsPandeiroThe pandeiro is a popular drum in Brazil that is similar to a tambourine. It is played by tapping the drumhead or shaking it to create a rattle sound.

Cajón A cajón is a box-shaped percussion instrument. To play the cajón you sit on top of it like a stool and tap the front face with your hands.

TriangleThe triangle is a musical instrument with three sides (just like the shape) and curved corners. There is always one corner where the sides do not join. This makes it possible for the instrument to vibrate. You make a sound by hitting the triangle with a metal beater.

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Concert Preparation

The Second Concert• Review the diverse artists the students have encountered so far this spring.

— Andrea and Puma (African American gospel music and spirituals)— Sasha (Russian music)— Nanny (Brazilian music)

• Look at SG34 and have students find the countries represented on the map.• What do you remember about the artists and their music? Brainstorm a list of responses with

the students.• Listen to a brief excerpt by each of these artists on the Musical Explorers CD.

• What musical opposites have we learned from these artists?• As a class, brainstorm some questions the students could consider during the concert. Have the students

try to answer the questions for one another after attending the performance.• Lead a discussion with students about the roles of performer and audience member (or listener) during a

concert. Brainstorm ideas about these roles and document them on chart paper. Have students narrow down the list by voting on their favorite two ideas per role.

• Divide the class in half, with one half acting as performers and the other half acting as audience members for a song from Musical Explorers. Facilitate a reflective discussion with students about how each group did. Invite the groups to share one aspect of what they liked and one thing that could be improved for themselves and the other group. Perform the song again, switching so that the students take on the opposite role. Repeat the reflection.

• Let’s Go to Carnegie Hall (5 minutes)

The Conductor now takes us from each of our artists’ neighborhoods to Carnegie Hall in Manhattan, where we will meet and hear our singers, Andrea and Puma, Sasha, and Nanny. Have students turn to SG35 and help them do the following:

• Find Andrea and Puma in Harlem, Manhattan; Sasha in Brighton Beach, Brooklyn; and Nanny in Little Brazil, Manhattan.

• Find Carnegie Hall in Manhattan.• Complete the maze that takes each of them from their neighborhoods to Carnegie Hall.

81

SG 34

Where Are the Countries that We Have Learned About?The artists came from different places but now live in New York City—just like you!

NannySasha

TshidiMartaAnne-Marie

Andrea Puma

82

Find Carnegie Hall Find Andrea and Puma in Harlem, Manhattan; Sasha in Brighton Beach, Brooklyn; and Nanny in Little Brazil, Manhattan. In the maze, draw the path from each of them to Carnegie Hall in Manhattan. Let’s go!

BROOKLYN

QUEENS

STATEN ISLAND

BRONX

Harlem

Little Brazil

Brighton Beach

MANHATTANNanny

Sasha

SG 35

Carnegie Hall

Andrea Puma

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SG 36

What Did You See and Hear at Carnegie Hall?Draw pictures of your trip to Carnegie Hall below.

84

SG 37

Who Is Your Favorite Artist?Write a letter to your favorite artist. Be sure to include your favorite part of the concert and your favorite song from the concert.

Dear ,

Your friend,

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Additional InformationGlossary

accelerando: gradually increasing the tempo

balalaika: a Russian folk stringed musical instrument with a characteristic triangular body and three strings

bodhrán: an Irish frame drum

cajón: a box-shaped percussion instrument originally from Peru that is played by slapping the front face (generally made of thin plywood) with the hands

call and response: a common way to learn music in which one person sings part of the song (call), and another person repeats it (response).

capoeira: a Brazilian martial art that combines elements of dance and music

carnaval: Spanish word for “festival”

contour: a musical shape

duet: a piece in which two people make music together

dynamics: volume (loud or quiet)

echo: to imitate exactly something that was heard before

emotions: feelings

explorer: a person who uses his or her senses to learn about something

forró: a popular genre of music and dance from Northeastern Brazil

gospel music: a genre of American folk music with influences from African American spirituals, folk, and call-and-response church music. The music is often repetitive with dominant vocals and strong harmonies.

harmony: when more than one note is heard at a time, often creating a harmonious or pleasing sound

humming: singing without opening one’s lips

improvise: to make up something on the spot

legato: playing or singing without breaks between the notes; smooth and connected

lyrics: the words in a song

melody: the tune in a piece of music, made up of pitches that go up and down

mood: the feeling of a piece of music

musical layers: different musical parts that happen at the same time

opposite: things that are very different from each other

pandeiro: a Brazilian hand frame drum

pattern: a distinct arrangement of visual designs or sounds (often repeating)

pitch: how high or low a sound is

rhythm: patterns of sound and silence

solo: one musician performing alone

spirituals: music originally sung by African Americans slaves as a way to express their emotions during times of difficulty

staccato: playing with short, disconnected notes

steady beat: the pulse in music

tempo: the speed of music

triangle: a metal percussion instrument in the shape of a triangle held by a loop of thread or wire and played with a small mallet

vibrations: the movement of air

Zulu: the most widely spoken language in South Africa

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National Standards for Music Education Units

Standard 1 Singing a varied repertoire of music alone and with others Intro, 1, 2, 3, 4, 5, 6

Standard 2 Performing a varied repertoire of music alone and with others Intro, 1, 2, 3, 4, 5, 6 Standard 3 Improvising melodies, variations, and accompaniments Intro, 1, 2, 3, 4, 5, 6 Standard 4 Composing and arranging music within specified guidelines 2, 3, 4

Standard 5 Reading and notating music Intro, 1, 2, 3, 4, 5, 6

Standard 6 Listening to, analyzing, and describing music Intro, 1, 2, 3, 4, 5, 6

Standard 7 Evaluating music and music performances Intro, 1, 2, 3, 4, 5, 6

Standard 8 Understanding relationships between music, the other arts, Intro, 1, 2, 3, 5 and disciplines outside the arts

Standard 9 Understanding music in relation to history and culture Intro, 1, 2, 3, 4, 5, 6

New York City Department of Education Blueprint for Teaching and Learning in Music Units

Strand 1 Music Making: By exploring, creating, replicating, and observing Intro, 1, 2, 3, 4, 5, 6 music, students build their technical and expressive skills, develop their artistry and a unique personal voice in music, and experience the power of music to communicate. They understand music as a universal language and a legacy of expression in every culture.

Strand 2 Developing Music Literacy: Students develop a working knowledge Intro, 1, 2, 3, 4, 5, 6 of music language and aesthetics, and apply it to analyzing, evaluating, documenting, creating, and performing music. They recognize their roles as articulate, literate musicians when communicating with their families, schools, and communities through music.

Strand 3 Making Connections: By investigating historical, social, and cultural Intro, 1, 2, 3, 4, 5, 6 contexts, and by exploring common themes and principles connecting music with other disciplines, students enrich their creative work and understand the significance of music in the evolution of human thought and expression.

Strand 4 Working with Community and Cultural Resources: Students Intro, 1, 2, 3, 4, 5, 6 broaden their perspective by working with professional artists and arts organizations that represent diverse cultural and personal approaches to music, and by seeing performances of widely varied music styles and genres. Active partnerships that combine school and local community resources with the full range of New York City’s music and cultural institutions create a fertile ground for students’ music learning and creativity.

Strand 5 Exploring Careers and Lifelong Learning: Students consider the range Intro, 1, 2, 3, 4, 5, 6 of music and music-related professions as they think about their goals and aspirations, and understand how the various professions support and connect with each other. They carry physical, social, and cognitive skills learned in music, and an ability to appreciate and enjoy participating in music throughout their lives.

87

Acknowledgments“Carnegie Hall Musical Explorers Song,” by Daniel Eliot Levy. © 2007 Daniel Levy and ASCAP. Performed by Shanna Lesniak-Whitney and Shane Schag.

“O’ro the Rattlin’ Bog,” traditional Irish song. Performed by Anne-Marie Hildebrandt.

“Johnny’s Gone for Soldier,” traditional Irish song. Performed by Anne-Marie Hildebrandt.

“Carnavaliando,” by Marta Gómez. Performed by Marta Gómez, Claudio Ragazzi, Juancho Herrera, Roberto Cachimuel, and Sofia Tosello.

“Tu Voz,” by Marta Gómez. Performed by Marta Gómez, Gema Corredera, and Pavel Urquiza.

“Thula Mdwana,” traditional South African song. Performed by Tshidi Manye, Sbongiseni Duma, and Junior Wedderburn.

“Inqola,” by Sbongiseni Duma. Performed by Tshidi Manye, Sbongiseni Duma, and Junior Wedderburn.

“This Train Is Bound for Glory,” traditional American folk song. Performed by Andrea Jones-Sojola, Phumzile Sojola, and Courtney Bryan.

“Follow the Drinking Gourd,” traditional American folk song. Performed by Andrea Jones-Sojola, Phumzile Sojola, and Courtney Bryan.

“Kalinka,” traditional Russian folk song. Performed by Sasha Papernik and Justin Poindexter.

“The Birch Tree,” traditional Russian folk song. Performed by Sasha Papernik and Justin Poindexter.

“Paranaue,” traditional Brazilian song. Performed by Nanny Assis and Helio Alvez.

“Magalenha,” by Carlinhos Brown, Warner-Tamerlane Publishing Corp. (BMI). Arranged by Nanny Assis and Marivaldo Dos Santos. © 2006 Blue Toucan Music. All rights reserved. Performed by Nanny Assis, Guilherme Monteiro, and Marivaldo Dos Santos.

All scores reprinted with permission. All recordings © 2013 The Carnegie Hall Corporation, except where noted.

PhotosArtist photos: Anne-Marie Hildebrandt courtesy of Anne-Marie Hildebrandt, Marta Gómez courtesy of Marta Gómez, Tshidi Manye courtesy of Tshidi Manye, Andrea and Puma courtesy of Andrea Jones-Sojola, Sasha Papernik courtesy of Sasha Papernik, Nanny Assis courtesy of Nanny Assis. SG3: hand motions by Chris Amos. SG6: Woodside by Stefan Cohen. SG7: Irish bog by Roy Mazucco. SG12: Jackson Heights by Matthew J. Kuhnert and Sam Meyer. Page 32: hand motions for “Carnavaliando” by David Silva. SG13: Carnaval Corrientes by Myben.be, street fiesta by Szymon Kochanski. SG16: Morningside Heights by Stefan Cohen. SG23: Harlem by Stefan Cohen. SG28: Brighton Beach by Stefan Cohen. SG29: balalaika by instrumundo. SG31: Little Brazil street sign by VoxFx, Brazilian flags by korafotomorgana, fruit by jACK TWO, Brasil sign by inhabit. SG32: capoeira courtesy of Michael Goldstein and the New York Capoeira Center. SG33: pandeiro by Alno, cajón by gluckstadt. Carnegie Hall by Jeff Goldberg and Zankel Hall by Chris Lee.

Special ThanksSpecial thanks to the Brooklyn Youth Chorus and Michael Z. Goldstein (Mestre Ombrinho), Thây Petrillo-Foster, and Milagros (“Millie”) Altamirano of the Afro Brazil Arts, New York Capoeira Center.

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CD Track List1. “Carnegie Hall Musical Explorers Song”2. “Carnegie Hall Musical Explorers Song” (accompaniment)3. “Warm-Up Rhyme”4. “Sirens”5. “Yawning Kittens”6. “Floating Balloon”7. “O’ro the Rattlin’ Bog”8. “Johnny’s Gone for Soldier”9. “Carnavaliando”10. “Carnavaliando” (call-and-response chorus)11. “Tu Voz”12. “Tu Voz” (chorus only)13. “Thula Mdwana” (duet version)14. “Thula Mdwana” (solo version)15. “Thula Mdwana” (call-and-response chorus)16. “Inqola”17. “Inqola” (call and response)18. Zulu Sound 119. Zulu Sound 220. Zulu Sound 321. “This Train Is Bound for Glory”22. “This Train Is Bound for Glory” (first verse only)23. “Follow the Drinking Gourd”24. “Follow the Drinking Gourd” (chorus only)25. “Kalinka”26. “Kalinka” (chorus only)27. “The Birch Tree”28. “The Birch Tree” (refrain pronunciation)29. Balalaika30. “Paranauê”31. “Paranauê” (chorus only)32. “Magalenha”33. Pandeiro34. Cajón35. Triangle36. Forró Layers

Musical Explorers CD

Weill Music Institute

carnegiehall.org/MusicalExplorers