DVORAK PROJECT MUSIC AT HAVERSTRAW MIDDLE SCHOOL Presented by Claudia Rose July 2010 INTRODUCTION Sunday morning I had a realization while at the gym while running on the treadmill regarding work songs. Although I run every day, this has been a solitary activity for me. The first few days at the gym were absolute torture because the people running on the left and right sides of me were both running at different speeds and intensities, which threw my rhythm off. Today, I had the good fortune to be next to someone whose speed did not match mine, but which pushed me to remain in sync with him. This is a clear example to me of how work songs work. What I am proposing for my project spans a two year activity involving both fifth grade general music and fifth, sixth and seventh grade orchestra. Fifth grade general music students will become familiar with several Negro spirituals Wade in the Water, Didn t the Lord Deliver Daniel, Swing Low Sweet Chariot, Follow the Drinking Gourd, and Let My People Go. After discussing the lyrics of these songs for both literal and hidden meanings, students will learn the tunes. Simultaneously, the sixth and seventh grade orchestra students will be learning orchestral arrangements of the same songs. The same activities will be done with the orchestra students learning Irish fiddle tunes. With the fifth grade general music, we will discuss the purpose of these songs. My fifth grade general music class has access to string instruments and learn the basics of playing them. Depending on the progress of each class, the students will learn either the tunes or the chords on their instruments. A concert will occur in which both groups of students will perform with narration by students as to the origins of the songs. Students in both groups will learn about Dvorak and his music, and in particular, The New World Symphony. OBJECTIVES My project includes a combination of project templates I and III from the Dvorak Institute. An informal concert for all students involved, accompanied by their families and teachers, the students will perform a series of songs based on work in and immigration to the United States in the 19 th century. I ve attempted to bring this closer to home, literally, by melding the history of industry in Haverstraw, NY in photos and other primary sources as well as with paintings of the Hudson River landscapes. Students will be learning about four types of songs from two distinct cultures and how it impacted American music African American spirituals and work songs, and Irish/English dance tunes and sea shanties.
We will also discuss how the two musical cultures converged. Songs and lyrics will be both sung and played and there will be a writing assignment in which students will express (either in narrative form or song) the feelings of an immigrant in Haverstraw, NY working, or a child of a worker and his or her feeling about his or her father. These lyrics will be set to the tunes learned in class with attention to the purpose and mood of the dialogue. The students will decide which type of song setting fits the lyrics they have written. STANDARDS The National Standards addressed are:- Content Standard 1 Singing alone and with others; a varied interpretation of music Content Standard 2 Performing on instruments alone and with others; a varied interpretation of music Content Standard 4a Students compose short pieces within specified guidelines demonstrating how the elements of music are used to achieve unity and variety, etc. Content Standard 4d Performing ensembles; reading and performing in a culturally authentic manner Content Standard 6 Listen to, analyze, and describe music Content Standard 7b Students e3valuate quality and effectiveness of others of their own and others performances. Content Standard 8 Understanding relationships between music, the other arts, and disciplines outside the arts Content Standard 9 Understanding musical relationships in history and culture Content Standard 9a Distinguishing characteristics of representative music genres and styles Content Standard 9b Classify by genre or style Content Standard 9c Compare function music serves, roles of musicians, conditions under which music is performed Students will be able to answer where, what, why and when the various songs were performed. Use Voices Across Time Graphic organizer (Plotting the Story) to help organize their listening and writing. (www.voicesacrosstime.org) DURATION One School Year
RESOURCES Anderson, William M., and Marvelene C. Moore, eds. Making Connections: Multicultural and the National Standards. Reston, VA: MENC, 1997.... New York: Oxford University Press, 1998. Jackson, Richard. Stephen Foster Song Book, Popular Song of the Nineteenth Century, Dover, 1974. Horowitz, Joseph. Dvorak in America; In Search of the New World. Chicago: Cricket Books, 2003. Root, Deanne L., Susan K. Donley, Kathryn Miller Haines, Marianna S. Whitmer, ed.; Voices Across Time: American History Through. Pittsburgh: Center for American, University of Pittsburgh, A project of the Society for American, 2004. From The New World; [Interactive DVD-ROM] Robert Winter, Peter Bogdanoff, Arts Interactive, 2008.
PROCEDURE FOR FIFTH GRADE GENERAL MUSIC Students will listen to the following genres of 19 th Century music: Work Songs Spirituals English Sea Shanties American Sea Shanties Tell a story Possible hidden meanings Tell a story Tell a story Call and response (i.e., code) for slaves to Call and response Call and response Stay in contact with loved communicate (e.g., Participatory Participatory ones escape routes, etc.) Make work easier Make work easier Participatory Keeping spirits up Remind them of loved Remind them of loved Syncopated rhythms Expression of religious ones ones Make work easier (i.e., faith Booming vocals in Booming vocals in hard labor, inhuman order to be heard order to be heard conditions, unfair practices) Tension between man and machine Jigs Dance Instrumental (no lyrics) Social activity Personal expression Students will participate in the following activities to reinforce their understanding of 19 th Century music genres: Activities Activities Activities Activities Activities Participate in a tug-of-war to simulate work activity with and without musical support Practice call and response songs Ask students about their use of coding in current media use Ask students to bring examples they have learned outside of class Singing Ask students what changes they would make or add to update this heritage Practice call and response Take a trip on the Hudson River on a traditional sloop Discuss types of work done on ships and types of work songs Discuss whaling history and current issues Practice call and response Take a trip on the Hudson River on a traditional sloop Discuss types of work done on ships and types of work songs Discuss whaling history and current issues Discuss influence of the songs of slaves on English sea shanties that created an American genre Learn a 19 th century English dance Learn a 19 th century American dance
Additional Topics for the Fifth Grade: Students will be asked a series of questions to help them determine why and where particular songs were sung. Students will write a narrative of a song about a fictitious immigrant to Haverstraw in the 1800 s that will be set to the tune of a jig, shanty, work song (call and response) or a spiritual. Students will decide on the most appropriate musical setting based on their knowledge of the various forms. Song List for Beginners and Fifth Grade Orchestra (as well as Sixth and Seventh Grade Orchestra) Beginners Fifth Grade Orchestra Sixth and Seventh Grade Orchestra Oats, Peas, Beans and Barley Grow Old Joe Clark arr. Frank Hafferty, Kendor Cripple Creek arr. Michael Hopkins, Grand Mesa Down by the Riverside arr. B. Turner, SMD Schott Wade in the Water He s Got the Whole World in His Hands arr. Frost, Lake State Publication Devil Dream arr. Dabcynski and Phillips, Alfred Alison Waltz arr. Dabcynski and Phillips, Alfred Swallowtail Jig arr. Dabcynski and Phillips, Alfred Soldier s Joy arr. Dabcynski and Phillips, Alfred John Henry arr. Carrie Gruselle, Alfred Swing Low Sweet Chariot arr. Robert Frost, Kendor Amazing Grace arr. Elliott Del Borgo, Hold On arr. Carrie Gruselle, Alfred Ash Grove arr. Michael Hopkins, Kendor Follow the Drinking Gourd arr. Carrie Gruselle, Alfred Didn t My Lord Deliver Daniel arr. Carrie Gruselle, Alfred Big John McNeil arr. Dabcynski and Phillips, Alfred Lannigan s Ball arr. Dabcynski and Phillips, Alfred Off She Goes arr. Dabcynski and Phillips, Alfred Nobody Knows The Trouble I ve Seen arr. Carrie Gruselle, Alfred Fiddlers Green Irish Folk Song, Hal Leonard Tamlyn arr. Plohman and Phillips, Alfred Largo from The New World Symphony Dvorak, arr. Del Borgo, Kendor Additional Traditional Folk Songs for Fifth Grade This Little Light of Mine Ezekiel Saw the Wheel Hard Times Come Again Go Down Moses Johnny Comes Marching Home
Rakes of Mallow McPherson s Lament Haste to the Wedding PROCEDURE FOR FIFTH, SIXTH AND SEVENTH GRADE ORCHESTRA There will be a concert American music to be performed for family and friends. Fifth grade beginners will be performing easy arrangements along with more advanced students. Students from the general music class will narrate with explanations of the songs being performed. The concert will end with Dvorak s Largo from The New World Symphony that was inspired by his travels and work in America and his experience of traditional songs in the 1890 s. MISCELLANEOUS DISCUSSIONS AND ACTIVITIES Celebration of Black history through music Expression of Freedom Field trip to Hudson River School Pictures from the Hudson River Museum Field trip to Haverstraw Brick Museum Possible concerts Jay Ungar and Molly Mason Discussion of Latin American culture in parallel to this program Compare and Contrast: 1. Sea Shanties a. Different songs with different rhythms and different tasks b. High point during whaling (1820-60) c. Booming d. Mouth-filling words e. The influence of African American work songs and the use of harmony distinguished American sea shanties from British sea shanties 2. Hauling Songs a. Heaving and pushing b. Sailors did seasonal work loading cotton
c. Learned from work songs from Black stevedores, which were learned from spirituals 3. Hollers a. Solos that were different from other work songs and led to the development of Blues songs b. Corn was 7 high and hollers were a way to stay in touch c. Use of open vowels resonate the end of the work day MISCELLANEOUS DISCUSSIONS AND ACTIVITIES - CONTINUED 4. Blues a. Built on patterns of work songs b. Call and response syncopated rhythms c. Mule-Skinner Blues d. John Henry the tension between man and machine e. Casey Jones f. Greenland Whale Fishery 5. Spirituals a. Sometimes I Feel Like A Motherless Child