Integrating Music into the Elementary Classroom

1. Come‚ all you round - ers‚ if you want to hear A
2. Put in shov - el your coal. Put your
3. Ca - sey your wa - ter and Re - no hill.
He
pulled up at

sto - ry a - bout a brave en - gi - neer‚ And Ca - sey Jones was the
she
head out the win - dow‚ watch them driv - ers roll. I’ll run her till by the

toot - ed for the cross - ing with an aw - ful shrill. The switch - man knew

round - er’s name. On a six - eight wheel - er‚ boys‚ he won his fame. The

leaves the rail‚ ’Cause I’m eight hours late with the west - ern mail. He

en - gine’s moans That the man at the throt - tle was Ca - sey Jones. He

call - er called Ca - sey at a half past four. Ca - sey
looked at his watch‚ and his watch was slow. He
pulled up with - in two miles the place‚ And
of

kissed his wife at the sta - tion door. He mount - ed to the cab - in with his
looked at the wa - ter‚ and the wa - ter was low.
Num - ber in the face. He turned to the fire - man‚ and
Four stared him
He turned to the fire - man‚ said‚

or - ders in his hand‚ And he took his fare - well trip to the Prom - ised Land.
dead.”
then he said‚ “We’re goin’ to reach Fris - co‚ but we’ll all be bump.”

“Boy‚ you bet - ter jump‚ ’Cause there’s two lo - co - mo - tives that’s a - go - in’ to

Refrain

Ca - sey Jones mount - ed to the cab - in Ca - sey Jones‚ with his
Ca - sey Jones‚ Ca - sey Jones‚ But we’ll
Ca - sey Jones‚ Goin’ to reach Fris - co. Ca - sey Jones‚ That’s a -

Two lo - co - mo - tives‚

or - ders in his hand. Ca - sey Jones Mount - ed to the cab - in‚ And he
all be dead. Ca - sey Jones‚
go - in’ to bump‚” Ca - sey Jones‚ Goin’ to reach Fris - co‚ We’re

“Two lo - co - mo - tives that’s a -

Thematic and Content Pedagogy 425

took his fare - well trip to the Prom - ised Land.

Copyrigghotin2’013 tCoengargeeaLchearning. All RFirgishts-Recsoe‚rved. bMuaty nowt bee’llcopied,aslcl anned, or duplicatebde, in whdoelaedo.r in part.

Ca - sey Jones mount - ed to the cab - in Ca - sey Jones‚ with his
Ca - sey Jones‚ Ca - sey Jones‚ But we’ll
Ca - sey Jones‚ Goin’ to reach Fris - co. Ca - sey Jones‚ That’s a -

Two lo - co - mo - tives‚

or - ders in his hand. Ca - sey Jones Mount - ed to the cab - in‚ And he
all be dead. Ca - sey Jones‚
go - in’ to bump‚” Ca - sey Jones‚ Goin’ to reach Fris - co‚ We’re

“Two lo - co - mo - tives that’s a -

took his fare - well trip to the Prom - ised Land.
we’ll all in’ be dead.
goin’ to reach Fris - co‚ but to bump.”
a - go -
two lo - co - mo - tives that’s

© 1909 Newton & Seibert. Renewed and assigned to Shapiro, Bernstein & Co., Inc., New York.

SUGGESTIONS FOR LESSONS

1. Review what is known about the character Casey Jones. He was known for the speed at which he
could make a train travel and for the wonderful sound he could get out of the train whistle. Some
stories tell us that the people who worked in the fields near the railroad tracks could tell when
Casey was at the throttle by the sound of the whistle.

2. Review the difference between a diesel and a locomotive. Show pictures of each.

3. Discuss the meaning of a ballad (story song) and read the words of the song as a story.

4. Teach the syncopated patterns by playing and singing the rhythm patterns.

5. Use colored charts for repeating phrases.

6. Create an overlay for the overhead projector that shows the repeated melodic phrases in
“Casey Jones.”



7. Dramatize the story as students sing the song.

8. Invite students to bring in toy trains (steam locomotives, diesels). Discuss how train travel has
changed over the past one hundred years.

9. View pictures of trains and train travel (www.images.google.com).
■■ Claude Monet, The Saint-Lazare Railroad Station
■■ Currier and Ives, The “Lightning Express” Trains 2

10. Listen to musical compositions about trains—for example, Villa-Lobos, “Little Train of
the Caipira” (available on the CD accompanying Macmillan/McGraw-Hill Spotlight on
Music K, 2005); Honegger, “Pacific 231”; and Miller, “Chattanooga Choo-Choo” and “Orange
Blossom Special.”

11. Read the poem “Song of the Train” by David McCord (see www.google.com).

2 Museum of New York, 100 Currier and Ives Favorites (New York: Crown Publishers, 1978), p. 57.

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More Songs: Transportation

Ships “Pat Works on the Railway” in Macmillan/McGraw-Hill
Spotlight on Music 4, p. T86
“A-Rovin’” in Macmillan/McGraw-Hill Spotlight on Music
6, p. 319 “Ride the Train” in Macmillan/McGraw-Hill Spotlight on
Music K, p. T144
“Away for Rio” in Macmillan/McGraw-Hill Spotlight on
Music 2, p. 170 “Rock Island Line” in Silver Burdett Ginn The Music
Connection 4, p. 140
“Bound for Southern Australia” in Silver Burdett Making
Music 5, p. 22 “Same Train” in Silver Burdett Making Music 2, p. 164

“Cape Cod Chantey” in Macmillan Music and You 5, p. “This Train” in Silver Burdett Making Music 5, p. 27
251; Silver Burdett Ginn World of Music 4, p. 29
“The Train” in Silver Burdett Making Music 2, p. 260;
“Columbus Sailed with Three Ships” in Spotlight on Macmillan/McGraw-Hill Spotlight on Music 2, p. T326
Music 2, p. 344
“Train Comes” in Macmillan/McGraw-Hill Spotlight on
“Gallant Ship” in Holt, Rinehart and Winston Exploring Music K, p. T152
Music K, p. 129
“Train is a Comin’” in Silver Burdett Making Music 3, p.
“I Saw Three Ships” in Spotlight on Music 2, p. 359 48

“Sail Away” in Silver Burdett Making Music 5, p. 404 “Wabash Cannonball” in Silver Burdett Ginn World of
Music 5, pp. 14–15; Silver Burdett Making Music 5, p.
“Sailboat in the Sky” in Silver Burdett Ginn The Music 136; Macmillan/McGraw-Hill Spotlight on Music 6, p.
Connection 3 (2000), p. 176; Silver Burdett Making Music T30
4, p. 374
“When the Train Comes Along” in Silver Burdett Making
“Sailing the Sea” in Silver Burdett Music 1, p. 98 Music 1, p. T300

“Sailor, Sailor on the Sea” in Macmillan/McGraw-Hill Airplanes
Spotlight on Music 2, p. 262
“I’m Flying Home” in Silver Burdett Ginn The Music
“Ship Ahoy” in Macmillan/McGraw-Hill Spotlight on Connection 2, pp. 120–121
Music 3, p. 314
Automobiles
Trains
“The Bus” in Macmillan/McGraw-Hill Spotlight on Music
“Engine, Engine No. 9” in Spotlight on Music 2, p. 13 K, p. T137

“How Long the Train Been Gone” in Spotlight on Music “Car Song” in Macmillan/McGraw-Hill Share the Music
4, p. 264 K (2003), p. T142; Silver Burdett Music 1, p. 34; Silver
Burdett Ginn World of Music 1, p. 16
“I’ve Been Working on the Railroad” in Silver Burdett
Music 3, p. 242 “I Have a Car” in Macmillan/McGraw-Hill Spotlight on
Music 3, p. T252
“Orange Blossom Special” in Spotlight on Music 6, p. 32
“Let’s Go Driving” in Macmillan/McGraw-Hill Spotlight
“O, The Train’s Off the Track” in Macmillan/McGraw-Hill on Music 1, p. T52
Spotlight on Music 3, p. T176
“Little Blue Truck” in Macmillan/McGraw-Hill Share the
“Paddy Works on the Railway” in Silver Burdett Ginn The Music K, p. T146; Macmillan/McGraw-Hill Spotlight on
Music Connection 4, p. 118 Music K, p. T136

“Page’s Train” in Spotlight on Music 4, p. 246

Planning and Presenting a Program

Purpose

A common expectation of classroom teachers is that they will plan and present programs that integrate
many different classroom activities such as music, visual art, language arts, history, geography, and
physical education. Of course, cognitive learning takes place during the preparation of such a program,
but social learning also occurs. For example, students develop responsibility, exercise creativity, exert
leadership, and work together. Careful planning by both teacher and students is essential. A primary
purpose of such an activity is for students to share with parents, relatives, and friends in the community
what they have learned.

Thematic and Content Pedagogy 427

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Planning

The entire class should be involved in the selection of the overall theme so that many activities and
ideas can be related to it in meaningful ways. After students have selected a theme, they should begin
gathering resource materials for the program. These should include songs, pictures, poems, essays,
ideas for dramatic presentation, and so on. As with all such activities, the opening number of the
program should be performed especially well and enthusiastically; each subsequent event must be
selected with emphasis on variety and interest; and the conclusion should be an upbeat activity that
leaves the audience excited about the program and what the students are learning. The following
sample programs are for a fifth-grade class, with resources included for each.

Rehearsals

Rehearsals must occur with enough care and frequency that nothing is left to chance. For a 30-minute
program, fifth-grade students would need a minimum of six weeks’ preparation (twice a week), with
a few more props and special effects added each week. Because this is an integrated program, all stu-
dents should be involved in the planning and performance, with each student contributing his or her
best musical talent and skill.

Committees

Students should organize the following committees in the classroom:
1. Program committee

a. Songs and accompaniments
b. Instruments needed
c. Welcome, poems, essays, “connecting” statements, closing
d. Dramatics
e. Order of events
2. Classroom decorations committee
a. Put up decorations
b. Take down decorations
3. Refreshments committee
4. Table decorations committee
5. Costumes committee
6. Audio/DVD/Video–recording committee

Additional Ideas for Festivals or Programs

The Olympics (features song “The Power of a Dream” from Atlanta; movement: clasping hands
and swaying)
Humor in Music
From Sea to Shining Sea
America’s Songbag
The World through Music
Celebrations
Seasons
Transportation
Style in Music
Immigrants (Past and Present)

428 CHAPTER 11

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Program I: A Musical Horn of Plenty (Thanksgiving)

“America the Beautiful”

Introduction: Words of Welcome
  Thanksgiving Poem:

Now Thank We All Our God
Now thank we all our God
With hearts and hands and voices,
Who wondrous things has done,
In whom his world rejoices
Who, from our mothers’ arms
Has blest us on our way
With countless gifts of love,
And still is ours today.
O may this bounteous God
Through all our life be near us,
With ever joyful hearts
And blessed peace to cheer us,
And keep us in his grace,
And guide us when perplexed,
And free us from all harm
In this world and the next.

(Rinkhart, tr. Winkworth)

Introduction to Rondo
Trumpet Concerto in E-flat Major, Rondo .................... Wolfgang A. Mozart

Movement interpretation: ABACA

Introduction to Theme-and-Variation
Variations on “Simple Gifts” from Appalachian Spring ............... Aaron Copland

Puppet interpretation

“Tinga Layo” (p. 82 )
Ostinato accompaniment: claves, bongo drums, maracas

Thanksgiving Poem: Psalm 150
Praise Ye the Lord

Praise ye the Lord.
Praise God in his sanctuary;
Praise him in the firmament of his power.
Praise him for his mighty acts;
Praise him according to his excellent greatness.
Praise him with the sound of the trumpets;
Praise him with the psaltery and harp.

Praise him with the timbrel and dance;
Praise him with stringed instruments and organs.

Praise him upon the loud cymbals;
Praise him upon the high sounding cymbals.

Thematic and Content Pedagogy 429

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Let every thing that hath breath
Praise the Lord.

Praise ye the Lord.

Over the River and Through the Wood (p. 392) (Guitar and/or Piano accompaniment)

Closing: Words of Thanks and Appreciation

Program II: Liberty

“The Yankee Doodle Boy”

Introduction: Words of Welcome
Short essay: The Meaning of Freedom

How can we define liberty? What is freedom? For people of the United States more than 200 years ago, it meant discuss-
ing how the thirteen American colonies could obtain liberty and freedom from Great Britain. Virginia’s Patrick Henry stated
emphatically, “Give me liberty or give me death,” and another Virginian, Thomas Jefferson, penned the words of a Declara-
tion of Independence signed on July 4, 1776:

When in the Course of human events it becomes necessary for one people to dissolve the politi-
cal bonds which have connected them with another and to assume among the powers of the earth,
the separate and equal station to which the Laws of Nature and of Nature’s God entitle them, a decent
respect to the opinions of mankind requires that they should declare the causes which impel them to the
separation.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their
Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness . . . .
Ralph Waldo Emerson, an American poet, expressed the spirit of freedom when he wrote the Concord Hymn, first sung at
the completion of the Battle Monument at Concord, Massachusetts, on July 4, 1837.

Concord Hymn
By the rude bridge that arched the flood,
  Their flag to April’s breeze unfurled,
Here once the embattled farmers stood,
  And fired the shot heard round the world.
The foe long since in silence slept;
  Alike the conqueror silent sleeps,
And Time the ruined bridge has swept,
  Down the dark stream which seaward creeps.

On this great bank, by this soft stream,
  We set today a votive stone;
That memory may their deed redeem,
  When, like our sires, our sons are gone.

Spirit, that made those heroes dare
  To die, and leave their children free,
Bid Time and Nature gently spare
  The shaft we raise to them and thee.

Ralph Waldo Emerson

430 CHAPTER 11

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Words and Music by Yankee Doodle Boy Key: G
George M. Cohan Starting pitch: B
Meter: 2/4, begins on 1

I’m a Yan - kee Doo - dle Dan - dy‚

A Yan - kee Doo - dle do‚ or die;

A real live neph - ew of my Un - cle Sam‚

Born on the Fourth of Ju - ly.

I’ve got a Yan - kee Doo - dle sweet - heart‚

She’s my Yan - kee Doo - dle joy.

Yan - kee Doo - dle came to Lon - don‚ just to ride the po - nies‚

I am the Yan - kee Doo - dle Boy.

Thematic and Content Pedagogy 431

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Introduction to “There Are Many Flags”

The United States was founded on freedom from oppression—a nation composed of people from all cultures and religious
beliefs who come together as Americans.

Tableau: four or five students with flags of several nations

Traditional There Are Many Flags Key: A
Words by Mary H. Howliston Starting pitch: C
Meter: 4/4, begins on 3
Guitar:

There are man - y flags in man - y lands‚

There are flags of ev - ’ry hue;

But there is no flag‚ how - ev - er grand‚

Like our own Red‚ White‚ and Blue.
Refrain

Then hur - rah for the flag‚ our coun - try’s flag‚

Its stripes and its white stars too‚

For there is no flag in an - y land

Like our own Red‚ White‚ and Blue.

432 CHAPTER 11

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Words and Music by You’re a Grand Old Flag Key: F
George M. Cohan Starting pitch: C
Meter: 2/4, begins on 2

You’re a grand old flag‚ you’re a high - fly - ing flag;

And for - ev - er in peace may you wave;

You’re the em - blem of the land I love‚

The home of the free and the brave.

Ev - ’ry heart beats true un - der red‚ white‚ and blue‚

Where there’s nev - er a boast or brag;

But should auld ac - quaint - ance be for - got‚

Keep your eye on the grand old flag.

Thematic and Content Pedagogy 433

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Introduction to Revolutionary America
“Yankee Doodle” (p. 364)

Ostinato accompaniment: guitar, drums, rhythm sticks
Tableau: three minutemen

Introduction to War of 1812
“The Star-Spangled Banner” (p. 47)
Tableau: Francis Scott Key writing song

Introduction to Civil War
“Dixie”

Accompaniment: harmonica, guitar
Theme-and-Variation: American Salute, Morton Gould Movement interpretation

Introduction to World War I
“Over There”

Accompaniment: snare drum, bass drum; movement interpretation

Introduction to World War II
“Marine’s Hymn”

Accompaniment: snare drum, bass drum
Tableau: raising of flag at Iwo Jima

Introduction to a Fanfare
Fanfare for the Common Man, Aaron Copland
Listening guide of tone colors: emphasis on brass and percussion

Introduction to Gettysburg Address
A Lincoln Portrait (III), Aaron Copland
Tableau: Lincoln giving speech at Gettysburg; people listening
“Battle Hymn of the Republic” (p. 414)
Audience is invited to join in singing the chorus

Finale: “You’re a Grand Old Flag”
Introduction

There are many symbols of a country; ours is the American flag. It stands for everything that is special about being an
American. “The Star-Spangled Banner” is played and the American flag is raised whenever an American wins a gold,
silver, or bronze medal in the Olympics.

The American flag is composed of red and white stripes (representing the original thirteen states) and white stars on a
field of blue (representing the fifty states that make up our country today). The American flag is presented to American
families when a loved one is killed in battle, and we show our respect for the flag by taking off our hat or facing the flag
when it goes by in a parade. In the United States, we honor the American flag on June 14, known as Flag Day.

Entire class sings song and joins in choreographed march

Closing: Words of Appreciation and Thanks

434 CHAPTER 11

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Program III: A Musical Fiesta—South of the Border

Introduction: Words of Welcome
Short essay: The Meaning of a Fiesta

The song “The First of January” (Uno de Enero) is a folk song from Mexico. It features counting from one to seven in
Spanish: uno, dos, tres, cuatro, cinco, seis, siete. On the seventh of July, people of Spanish origin sing this song, which
celebrates the fiesta in honor of the Spanish Saint Fermin. We will sing it in Spanish and then in English. Hand claps,
tambourines, and triangles as well as chording instruments (keyboard, guitar or Q-chord) provide the accompaniment.

Hand claps:

Tambourines:

Triangle:

Folk Song from Mexico The First of January Key: C
(Uno de Enero) Starting pitch: G
Meter: 6/8, begins on 4

A

First of the first month‚ sec - ond of the sec - ond month‚ Third of the

˘U - no de e - ne - ro‚ dos de fe - bre - ro‚ tres de

third‚ and fourth of the fourth; Fifth of the fifth month‚ sixth of the
cin - co de
˘mar - zo‚ cua - tro de a - bril‚ ma - yo‚ seis de

sixth month‚ Sev - enth of Ju - ly is San Fer - min.
Fer - mín
ju - nio‚ sie - te de ju - lio‚ San

B

La‚ la‚ la‚ la‚ la‚ la‚ la‚ Tam - bour - ine’s brok - en‚ we can - not play it.

¿quién ha ro - to la pan - de - re - ta?

La‚ la‚ la‚ la‚ la‚ la‚ la‚ If you broke it‚ you must re - place it.
ro - to la pa - ga - rá.
el que la ha

˘ ˘© 1961, Renewed 1981 Neil A. Kjos Music Company. All rights reserved. Reprinted by permission. www.kjos.com.

Thematic and Content Pedagogy 435

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“La Raspa” (p. 326)
Song and dance
Dramatics: a short play with hand puppets or stick puppets featuring an aspect of Mexican life

Traditional De Colores Key: C
English Words by Alice Pirgau Starting pitch: G
Meter: 3/4, begins on 1

When the mead - ows‚ when the mead - ows burst forth in the
De co - lo - res‚
De co - lo - res se vis - ten los

cool dew - y col - ors of spring - time;
cam - pos en la pri - ma - ve - ra‚

When the swal - lows‚ when the swal - lows come wing - ing in
De co - lo - res‚ De co - lo - res son los pa - ja -

clouds of bright col - ors from far - off‚
ri - tos que
˘vie - nen de a - fue - ra‚

When the rain - bow‚ when the rain - bow spreads rib - bons of
De co - lo - res‚
De co - lo - res es el ar - co

col - or all o - ver the sky: Then I know why the
i - ris y por e - so las
que ve - mos lu - cir‚

splen - dors of true love are great and their col - ors‚ the
gran - des a - mo - res de me
mu - chas co - lo - res

A tradition1al.folk song that has been circulated throughout American since the 16th C2e.ntury.

436 besCt HoAnePTsERo1f1 all. best ones of all.
gus - tan a mí. gus - tan a mí.

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

i - ris que ve - mos lu - cir‚ y por e - so las

splen - dors of true love are great and their col - ors‚ the
gran - des a - mo - res de mu - chas co - lo - res me

1. 2.

best ones of all. best ones of all.
gus - tan a mí. gus - tan a mí.

Chords

C C7 G7 F

“De Colores”

[Each person is assigned a note; thus, three people play the C chord and four play the G7 chord (on guitar or Q-chord,
resonator bells, xylophone, handbells, or tone chimes).]

“La Cucaracha” (p. 251)

A song that is often sung in Mexico is “La Cucaracha.” We will sing it today in both Spanish and in English, accompanied
by maracas, claves, and chording instruments. The claves and chording instruments will keep a steady beat while the
maracas improvise an appropriate rhythm.

“Cielito Lindo” (pp. 114, 254)
(recording: World of Music CD-4:2, 1991, book 4, p. 63)

A mariachi band or ensemble is composed of street musicians playing guitars, violins, and trumpets, who stroll into
restaurants or open-air cafés during the long lunch hour. Sometimes the mariachi ensemble is hired to play for an entire
evening. Raise your hands when you hear trumpets, violins, or guitars.

Piñata Ceremony

The piñata is a papier-mâché object filled with candy or nuts. The breaking of the piñata is accomplished at the close of the
nine days of Christmas celebrations in Mexico. Each child is blindfolded and has a turn with a stick in hopes of breaking the
piñata. After it is broken, children gather up their treats. We will sing “Piñata Song” first in Spanish and then in English.

A Traditional Christmas Song, Mexico Piñata Song Key: C
English Words by Verne Muñoz (Al Quebrar la Piñata) Starting pitch: G
Meter: 3/4, begins on 2
A

In the hap - py days of Christ - mas‚
En las de po - sa - das‚
no - ches

Sounds of glad - ness fill the air;
La pi - ña - lo me - jor;
ta˘es

When it’s time for the pi - ña - ta‚
más re - mil Th-ematgiac an-d Cdoantent Pedagogy
La ni - ña 437

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En las no - ches de po - sa - das‚

Sounds of glad - ness fill the air;
La pi - ña - lo me - jor;
ta˘es

When it’s time for the pi - ña - ta‚
La ni - ña
más re - mil - ga - da

There’s ex - cite - ment ev - ’ry - where.
con ar - dor.
Se˘al - bo - ro - ta
B

Take a stick and whack it. Be the one to crack it;
le‚ no pier - das el ti - no‚
Da - le‚ da - le‚ da -

Win pi - ña - ta’s trea - sure‚ Can - dies for your plea - sure.

Que de la dis - tan - cia ˘se pier - de el ca - mi - no.

Closing
Thank you for coming, and we hope that you will join us for refreshments.

Integrating Technology Audio

The Music Education Premium Site contains chapter Download music discussed in this chapter from the
quizzing, Spotify playlists, and downloads of free Apple iTunes store.
MP3s of noted songs. Visit CengageBrain.com to
purchase an access code or enter the code provided Spotify playlists allow students to stream music
with your text materials. referenced within each chapter.

Web Resources Download free audio MP3s for the songs noted
in the chapter.
Search the Web (www.google.com) for information
on holidays and related songs and games, and for
ways to integrate these into the classroom.
Videos

Watch classroom videos that apply to chapter content
and access the YouTube playlist for videos referenced
within the chapter.

438 CHAPTER 11

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Questions for Discussion

1. Discuss some general ways in which music may be integrated into the classroom curriculum.
2. What can music share with the study of social studies?
3. What can music share with the study of mathematics?
4. What can music share with the study of science (e.g., physics)?
5. What can music share with the study of visual art?
6. What can music share with the study of language arts (including theatre)?
7. What can music share with the study of dance?
8. Discuss what integrative ideas you might have for teaching the following songs:

“The Witch Rides” (grades K–1), p. 388
“Six Little Ducks” (grades K–2), p. 378
“Somebody Loves Me” (grades K–2), p. 410
“Martin Luther King” (grades 2–4), p. 407
“Circus Parade” (grades 3–5), p. 380
“Gatatumba” (grades 3–6), p. 382

Assessment

Review ways the music standards listed at the beginning of this chapter have been met.

Thematic and Content Pedagogy 439

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AA P P E N D I X

Selected Soprano Recorder Fingerings (Baroque System)

Left-hand 1st finger Left hand Right hand
thumb 2nd finger
3rd finger
1st finger
2nd finger
3rd finger
4th finger

440
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DE E F FG

G GA A AB B C

open hole closed hole slightly opened thumb hole

APPENDIX A 441

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BA P P E N D I X

Common Chord Fingerings for the Guitar

Symbols: A Am A7 Bm B7
X = S tring not played X0 1 2 3 0 X 0 2 3 10 X0 1 0 2 0 X1342 1 X21304
0 = Open string
1 = L eft index finger R R 1
2 = L eft middle f­inger
3 = Left ring finger 234
4 = L eft little finger
R = Root of chord

RR R

C D Dm D7 E
X 32 0 1 0 X X0 1 32 X X0 2 3 1 X X0 2 1 3 0 23100

1 1
2
2
4 3

R R R RR

Em E7 Fm G G7
012000 020100 134 111 210003 320001

1 1

2 2
3

RRRRR

442
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Glossary

a cappella  Without instrumental accompaniment. The behavioral objective  A statement that contains specific
phrase is Italian for “in chapel style”—that is, in the style skills or behaviors that learners are expected to acquire.
of a small place of worship. binary form  Music composed of two contrasting
accelerando, accel  Gradually become faster. sections, A and B.
accent  Greater emphasis on note or chord. Often bongo drums  Two connected drums of different pitches.
indicated by ^ or > placed above the note or chord. The player holds them between the knees and strikes them
with his or her hands.
accidental  A sharp ( # ), f lat ( b ), or natural ( n ) that cadence  A melodic or harmonic formula that indicates
the end of a section or piece.
appears in the musical score but is not part of the key canon  A strict form of imitation in which a melody is
signature. stated in one part and is repeated in one or more other
adagio  Moderately slow tempo. “voices.”
ad lib, ad libitum  A direction indicating that the cantata  A sacred or secular choral composition of
performer may vary the tempo in a musical composition. several movements.
affective  Having to do with feeling. capo (capotasto)  A device that clamps over the strings
agogo  An African percussion instrument consisting of of a guitar and holds them down tightly at a new pitch
conical metal bells, each having a different pitch. level, instantly providing transposition to a higher key.
allargando  Slowing of tempo. changing meter  Frequent changes of meter in a musical
alto  The lowest female voice. composition.
analogous concept  A concept used in a similar same chant  A single, unaccompanied melody.
way across the arts, such as repetition or contrast. child-centered approach  An approach to teaching
aria  An accompanied song for solo voice. that focuses on having students actively involved
articulation  The way in which musical tones in the learning process; rather than lecturing, the
are attacked. It is related to the clarity in vocal or teacher presents students with a problem that needs
instrumental performance. Legato and staccato are types to be solved and enlists the students’ participation in
of articulation. solving it.
a tempo  A return to the previous tempo. chord  Three or more tones sounding simultaneously.
augmentation  Presentation of a melody in longer notes. chorus  A large group of singers. The term is also used to
balalaika  A triangular-shaped Russian stringed denote a refrain or a choral segment of an oratorio.
instrument. chromatic scale  A scale entirely composed of half steps.
ballad  A narrative song. Classical period  European music from the period
bar line  A vertical line drawn on the staff to divide between 1750 and 1825.
music into measures. clef  A sign placed at the beginning of the musical staff to
Baroque music  European music from the period designate the names of pitches.
between 1600 and 1750. coda  A composed ending for a composition.
bass  The lowest male voice. cognitive learning  The process of mental learning.
beat  The ongoing pulse in music.

443

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concept  A set of experiences or ideas that are grouped enharmonic  Descriptive of notes that have the same
together based on some commonalities.
concerto  A composition for solo instrument and sound but different names; for example, F # 5 G b.
orchestra.
concerto grosso  A composition that contrasts more eurhythmics  Term used by Carl Orff for the process of
than one solo instrument with the orchestra. using rhythmic movement to teach music.
conjunct  A term used to describe melodies that move by fermata  To hold or pause.
stepwise intervals. fine  The end.
contour  The shape of a melody.
cooperative learning  Working together in a group to flat ( b )  A musical symbol that lowers the pitch a half
achieve learning.
countermelody  A melody that is added above or below step when placed before a note.
the main melody. form  How a work is designed; its structure.
crescendo  Gradually becoming louder. forte  Loud.
cut time  Dividing the meter by two; for example, 4/4 5 fortissimo  Very loud.
2/2 or . fugue  A musical composition based on imitation. It
da capo (D.C.)  Go back and repeat from the beginning. consists of an exposition, episodes, and the reappearance
dal segno al fine (D.S. al fine)  Repeat from the sign, and of the subject in different “voices.”
perform until the word fine, which means “end.” grand staff  The G and F clefs joined together.
decrescendo  Gradually becoming softer. guitarrón  A Mexican guitarlike plucked stringed
descant  A countermelody that is always above the main instrument that is larger and lower-pitched than a guitar.
melody. half step  The interval from one pitch to the next
digital music player (DMP)  A small, compact portable adjacent pitch, ascending or descending.
computer designed to hold large amounts of data in a harmonic minor scale  A minor scale with a raised 7th
music format for playing high-quality music. note.
diminution  The presentation of a melody in shorter harmonic texture  Type of texture in which there are two
note values. or more different pitches sounding simultaneously.
disjunct  A melody in which the intervals are larger than harpsichord  A stringed keyboard instrument shaped
a major second. like a modern grand piano but whose strings are plucked
dominant  The fifth degree of a scale. rather than hammered to make the sound when the keys
double bar  Two vertical lines that signify the end of a are depressed.
composition. homophonic  A musical texture in which a prominent
downbeat  The first beat of a measure. melodic line is supported with an accompaniment.
download  To acquire data from a site (usually on the interval  The distance between two pitches.
World Wide Web) by requesting the data to be transferred key signature  The sharps or flats placed at the
to your computer. beginning of a musical composition to affect the entire
dulcimer  A name given to several types of American composition.
traditional stringed instruments, including the plucked koto  A Japanese stringed instrument that has thirteen
dulcimer and the hammered dulcimer. strings and movable bridges.
duple meter  Meter based on two beats or multiples laouto  A Greek stringed instrument.
of two. legato  Connecting pitches smoothly.
dynamics  Term indicating the degree of loudness or listening guide  A chart that uses graphics or words to
softness in a musical composition. depict various events as they occur in the music.
locomotor movement  Moving the body.
major scale  A seven-tone scale composed of  W-W-H-
W-W-W-H steps.

444 G lo s sa ry

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mbira  An African instrument consisting of metal or opera  A musical drama in which all or most of the
wooden strips of different sizes attached to a resonator dialogue is sung.
(gourd) and played with the thumbs. Also called operetta  A musical drama in which the dialogue is
kalimba. generally spoken.
measure  A group of beats between the bar lines on the ostinato  A repeated melodic or rhythmic pattern that
staff. recurs throughout a composition.
melismatic  A melodic passage in which one syllable is partner song  Two songs that are in the same key and
sung on several different consecutive pitches. have the same length; can be sung together.
melodic rhythm  The rhythm of the melody in a musical patschen  Tapping thighs.
composition. pentatonic scale  A five-note scale.
melody  A succession of musical sounds that are perceived phrase  A division of a musical line, comparable to a line
as belonging together. or sentence in poetry or prose.
meter  The recurring pattern of accented and unaccented pipa  A pear-shaped Chinese stringed instrument that
beats in music. is held upright and plucked by the fingers of the right
meter signature  The numbers placed at the beginning of hand.
a composition. The upper number indicates the number of pitch  The highness or lowness of a tone.
beats per measure; the lower number tells what kind of a pizzicato  Italian term that refers to the technique used
note will receive one beat. for plucking the strings of a stringed instrument.
metronome  An instrument used to indicate a steady polyphonic  Music in which there are two or more
tempo. independent melodies.
MIDI (musical instrument digital interface)  A method polyrhythm  Two or more contrasting rhythms sounding
by which electronic musical instruments and software can at the same time.
communicate musical information to each other. presto  Very fast.
minor scale  A seven-tone scale composed of W-H-W- psychomotor learning  Learning through movement.
W-H-W-W steps. range  In melodies, the distance between the lowest and
minuet  A French country dance in triple meter. highest pitches.
mixed voices  A combination of male and female voices. recitative  A declamatory style of singing.
mode  Scalar arrangements of pitches with distinctive recorder  A small, vertical, flutelike instrument whose
intervals. Common in medieval, Renaissance, and folk pitch is determined by the covering and uncovering of
music. holes with the fingers.
modulation  Changing from one key to another within a refrain  A relatively short section that is repeated at the
composition. end of each verse of a song.
monophonic  A type of musical texture in which there is relative major and minor  The major and minor scales
a single line of music. that have identical key signatures; for example, C major
nonlocomotor movement  Movement that occurs and A minor.
within a physically stationary position. Renaissance  The European historical period extending
notation  A system for writing music that indicates pitch from approximately 1400 to 1600.
and duration. repeat sign  Sign indicating that the section should be
note  A musical symbol that may indicate both pitch and performed again.
duration. rest  The symbol used to denote silence in music.
obbligato  A second melodic line that accompanies the rhythm  The organization of musical sounds in time.
main melody. Romantic period  The European historical period from
octave  The interval of an eighth between the lowest approximately 1825 to 1900.
pitch and the highest.

G lo s sa ry 445

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rondo  A musical form diagrammed ABACA. tablature  Name given to specialized guitar notation
rote  The process of learning a song by imitation. that indicates which strings are to remain open and which
rote-note  The process of learning a song by imitation strings are to be fretted.
and notation. teacher-centered approach  An approach to teaching
round  A song in which two or more groups perform the that features the teacher primarily as a lecturer who
same melody but start at different times. presents material to the class by defining and explaining.
rubato  Flexibility of tempo. tempo  The speed of a musical composition.
scale  An arrangement of pitches from low to high. tenor  The highest mature male voice.
sequence  A melodic pattern that is repeated beginning ternary form  A musical form in three sections (ABA).
on another pitch. terraced dynamics  Sudden contrasting dynamic levels.
shakuhachi  A notched, end-blown Japanese wind text (word) painting  Music that describes or enhances
instrument. the words in the song.
sharp ( # )  A musical symbol that raises the pitch of a texture  Description of the number of lines of music and
note a half step. the relationships among the lines.
shekere  An African percussion instrument. theme-and-variation form  A musical form in which
sheng  A Chinese wind instrument made of bamboo a theme is given and then followed by variations on the
reed pipes placed into a bowl-shaped base. theme.
slur  A curved line above or below two or more notes, timbre (tone color)  The unique quality of a sound.
indicating that they should be performed legato. tonal center  The key center or home key of a piece.
solfège  A system for identifying the pitches of the tonality  How melodic and harmonic elements are
Western scale: do, re, mi, fa, sol, la, ti, do. organized around a tonal center.
sonata form  A European musical form that tone matching  Physically singing a pitch that matches
consists of thematic exposition, development, and that being played or sung by another person.
recapitulation. treble  Another name for the G clef.
soprano  The highest mature female voice. triad  A chord of three pitches, arranged in thirds.
staccato  Short, detached tones. triple meter  Meter in threes.
staff  A graph of five horizontal lines on which musical upbeat  One or more notes that occur before the first
notes are placed. measure of a musical composition.
stem  The vertical line attached to a note head. verse  A stanza of a poem or song.
stepwise  A melodic progression of pitches ascending or vihuela  A Mexican guitarlike plucked stringed
descending without skips. instrument that is somewhat smaller and higher-pitched
syllabic  Music in which each syllable is sung on one than a guitar.
note (pitch). vocal techniques  Ways of teaching children to sing.
symphony  An orchestral composition in four whole step  An interval formed by two half steps.
movements: fast, slow, moderately fast, and fast. xiao  A Chinese wind instrument made from bamboo.
syncopation  Emphasis on a normally weak beat. zheng  A plucked stringed instrument from China. The
synthesizer  A contemporary instrument that produces traditional form has sixteen strings; modern versions may
sounds electronically. have twenty-one strings.

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Two-Chord Songs

Title Chords Page Title Chords Page

Clementine G, D7 150 Listen to the Wind F, G7 76
Little Marionettes
Chinese New Year G, C 409 Little Tommy Tinker G, D7 240
Looby Loo
Cuckoo, The G, D7 111 Mary Ann D, A7 228
Merrily We Roll Along
Did You Ever See a Lassie? F, C7 109 Michael Finnegan F, C7 80
Mister Turkey
Down in the Valley D, A7 150 More We Get Together, The C, G7 150
Mulberry Bush, The
Eency, Weency Spider G, D7 228 My Hat C, G7 135
On Springfield Mountain
Farmer in the Dell, The G, D7; F, C7 152 People on the Bus, The F, C 89
Round and Round the Village
First of January, The (Uno de Enero) C, G7 435 Shoemaker’s Dance, The G, D7 391
Simple Gifts
Frère Jacques G, D7 113 Six Little Ducks D, A 57
This Old Man
Good News G, D7 126 Witch Rides, The G, D7 244

Hanukkah Is Here Dm, A7 395 C, G7 59

Hello, There! C, G7 76 G, D7 414

He’s Got the Whole World in His Hands D, A7 110 G, D 227

Hokey Pokey, The G, D7 372 F, C7 247

Hot Cross Buns G, D7 38 F, C7 247

Jack-o’-Lantern D, A, 81 F, C7 65

La Cucaracha G, D7 251 F, C7 378

La Raspa G, D7 325 F, C7 142

Lightly Row G, D7 126 Dm, A7 388

Three-Chord Songs

Title Chords Page Title Chords Page

America G, C, D7 142 Lullaby C, G7, F   36
Martin Luther King
Battle Hymn of the Republic Bb, Eb, F7 414 Michael, Row the Boat Ashore D, A7, G 407
Cielito Lindo Muffin Man
Circus Parade Bb, Eb, F7 114 My Big Black Dog C, F, G7 126
De Colores O Hanukkah
Five Fat Turkeys C, G7, F 380 O Susanna G, A7, D 137
Five Green and Speckled Frogs Old MacDonald Had a Farm 376
Gatatumba C, G7, F 436 Peddler, The (Korobushka) F, Bb, C7
Go, Tell It on the Mountain Piñata Song (Al Quebrar la Piñata)
Hickory Dickory Dock G, D7, C 392 Roll On, Columbia Dm, A7, Gm 396
If You’re Happy Somebody Loves Me
I’m Gonna Sing When the C, F, G7   43 F, C7, Bb  49
Sweet Betsy from Pike
Spirit Says Sing C, G7, F 382 Swing Low, Sweet Chariot G, C, D7 416
Keeper, The Tideo
Las Posadas Songs F, C7, Bb 107 Tinga Layo A7, Dm, Gm 141
Let’s Make a Jack-o’-Lantern F, Bb, C   46 Yankee Doodle
Little Shoemaker, The F, C7, Bb 374 C, F, G7 437
F, C7, Bb 384

C, G7, F 410

G, D7, C 240 C, G7, F   50
D, G, A7 108
C, F, G7 399 F, C7, Bb 264
389
F, C7, Bb 230 D, G, A7   98
F, C7, Bb
F, C, G7   82

G, D7, C 135

447

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Index of Listening Examples

A “Jimbo’s Lullaby,” 213 I
“The Little Shepherd,” 233
Alpert, Herb, “Spanish Flea,” 170, 171 La Mer (The Sea), 36, 216 Ibert, Jacques, “The Little White
Anderson, LeRoy Syrinx, 177 Donkey,” 220
Dukas, Paul, “The Sorcerer’s Apprentice,” 190,
“Syncopated Clock,” 220 192–195 “If You’re Happy,” 374–375
“Trumpeter’s Lullaby,” 220, 221 Dvořák, Antonín Irish bagpipe music, 316
“Ave Maria,” 354, 355, 356, 360, 361 New World Symphony, 178 Ives, Charles
“Slavonic Dance no. 1 in C Major,” 220
B “Serenity,” 354, 356
E Variations on “America” for Organ, 184
Babbitt, Milton, Ensembles for Synthesizer,
“Synthesizer Effects,” 186 Elgar, Edward, Pomp and Circumstance, 164 J

Bach, J. S. F Joplin, Scott, “The Entertainer,” 220
“Badinerie,” 35 Josquin, “El Grillo,” 204, 205
“Jesu, Joy of Man’s Desiring,” 238 Fillmore, Henry, “Bones Trombone,” 180 “Jumpin’ at the Woodside,” 333
“Little” Fugue in G Minor, 59, 63, 64, 65 “Flamenco Dance Song,” 184
“Foggy Mountain Breakdown,” 325 K
Bagpipe music, 316
“Balalaika - Troika Bells Polka,” 309 G Kern, Jerome, Showboat, “Old Man
Beethoven, Ludwig van River,” 175
Gould, Morton, American Salute, “When
“Ode to Joy” (Ninth Symphony), 137 Johnny Comes Marching Home,” 196, Kodály, “Viennese Clock,” 35
Symphony no. 6, “The Storm,” 4, 216, 234, 198, 199 Korobushka, “The Peddler,” 52, 141
Kunzel, Cincinnati Pops Orchestra,
352, 357, 358 Green, George Hamilton, “Triplets,” 220
Bernstein, Leonard, West Side Story, Gregorian chant, “Ave Maria,” 354, 355, 356, “Synthesizer Effects,” 186

“America,” 234 360, 361 M
Berry, Chuck, “Johnny B. Goode,” 203 Grieg, Edvard, Peer Gynt Suite, “In the Hall of
Bizet, Georges, L’Arlésienne Suite, Mendelssohn, Felix
the Mountain King,” 36, 164 Elijah, “O Rest in the Lord,” 175
“Farandole,” 164 Griffes, The White Peacock, 213 Violin Concerto in E Minor, 176, 220, 222
Brahms, Johannes, “Lullaby,” 35 Grofé, Ferde, Grand Canyon Suite
Britten, Benjamin, “The Young Person’s Guide Menotti, Gian-Carlo, Amahl and the Night
“Cloudburst,” 212, 216 Visitors, 205, 206–208
to the Orchestra,” 187, 188 “Sunrise,” 238
Brubeck, Dave, Time Changes, “Cable Car,” 215 Messiaen, Oiseaux Exotiques (Exotic
Bruch, Max, Violin Concerto in G Minor, H Birds), 213

op. 26, no. 1, 234 Handel, George Fredric, Messiah, 208 Miller, Glen, “Chattanooga Choo-Choo,” 426
“Comfort Ye,” 175 Moussorgsky, Modest
C “Every Valley Shall Be Exalted,” 208, 209
Hallelujah Chorus, 189, 208, 209, 210 The Flea, 213
Canadian Brass, “Tuba Lullaby,” 180 “Then Shall the Eyes of the Blind Be Pictures at an Exhibition
Chopin, Frederic, “Fantaisie-Impromptu,” 204, Opened,” 209
“Ballet of the Chicks in Their
205, 233, 238 Haydn, Franz Joseph Shells,” 238
“Cielito Lindo,” 114–116, 254, 327–328, 437 The Seasons, “With Verdure Clad,” 214
Copland, Aaron Symphony no. 94, 192, 195 “The Old Castle,” 178
Mozart, Leopold, Toy Symphony, 362, 365
Appalachian Spring, “Simple Gifts,” 66 Hindemith, Paul Mozart, Wolfgang Amadeus
The Cat and the Mouse, 213 Der Schwanendreher (The Swan
A Lincoln Portrait (Part 1), 218, 219, Catcher), 176 “Ah! Vous dirais-je, Maman,” 362, 365, 366
Sonata for Bassoon and Piano, 179 Eine Kleine Nachtmusik, 3rd movement,
415, 434
Rodeo, “Hoedown,” 210–211, 220 Holst, Gustav, The Planets, 217 170, 171, 192, 193, 345
Couperin, “The Gnat” (Second Book of Honegger, Arthur, “Pacific 231,” 29, 30, 215 Horn Concerto no. 3 in E-flat Major, 22, 63,
“Hotter Than That,” 332
Harpsichord Pieces), 185 Hovhaness, And God Created Great 180, 202
Requiem Mass in D minor, “Tuba
D Whales, 213
mirum,” 175
Debussy, Claude Symphony no. 40 in G Minor,
The Children’s Corner Suite
“Golliwog’s Cakewalk,” 234 “Minuet,” 164
“Twinkle, Twinkle, Little Star”

variations, 185

448
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O Mother Goose Suite, “Beauty and the T
Beast,” 179
“Old Monk Sweeping the Buddhist “Take Five,” 333
Temple,” 301 Rimsky-Korsakov, Nicolai, “Flight of the Tchaikovsky, Peter Ilich
Bumblebee,” 29, 30, 213
“Orange Blossom Special,” 4, 215, 227, 324, The Nutcracker
325, 426 S “Arabian Dance,” 233
“Dance of the Sugar Plum
P Saint-Saëns, Camille, Carnival of the Fairy,” 185
Animals, 192 “Waltz of the Flowers,” 177
Pachelbel, Oboe Concerto in C Minor,
“Adagio,” 178 “Fossils,” 37, 182 1812 Overture, 182
“The Elephant,” 177, 212 Telemann, Viola Concerto in G, 176
Perrey-Kingsley, The In Sound Way Out, “The “The Swan,” 29, 30, 37, 177
Little Man from Mars,” 217 Schubert, Franz, Marche Militaire, 164 V
Scottish bagpipe music, 316
Prokofiev, Sergei “Shika no Tone,” 305 Verdi, Giuseppe
Classical Symphony, Gavotte, 238 Smetana, Bedřich, The Moldau, 3, 4, 216, 353 Il Trovatore, “Anvil Chorus,” 183,
Peter and the Wolf, 165, 192, 213 Sondheim, Stephen, A Little Night Music, “Send 184, 202
“The Bird,” 177 Requiem, “Dies Irae,” 183
“The Cat,” 178 in the Clowns,” 238
“The Hunters Arrive,” 181 Sousa, John Philip Villa-Lobos, Hector, “Little Train of the
Caipira,” 4, 215, 233, 426
Puccini, Giacomo, Madame Butterfly, “Un Bel “Stars and Stripes Forever,” 35, 177, 189
Di” (One Fine Day), 175 “Washington Post March,” 182, 183 Vivaldi, Antonio, The Four Seasons, “Spring,”
Stravinsky, Igor, Rite of Spring 212, 214, 346
Purcell-Clarke, Henry, Trumpet Voluntary in “Adoration of the Earth/Harbingers of
D, 180 W
Spring,” 234
R “Dance of the Adolescents,” 358 Williams, John, Star Wars, 217
“Swing Low, Sweet Chariot,” 329 “Winter Ravens Sporting over Water,” 299
Ravel, Maurice
Boléro, 339, 341, 343, 344

Index of Listening Examples 449

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General Index

A “American Salute” lesson plan, 196–198 Balalaika, 309
“America the Beautiful,” 37, 429 “Balalaika - Troika Bells Polka,” 309
AB/ABA forms, 191 AMTA. See American Music Therapy Balance, analogous-concepts approach, 347–349
Abraham Lincoln songs, 414–416 Ballet, 210–211
Abstract interpretive movement, 238–239 Association (AMTA) “Ballet of the Chicks in Their Shells,” 238
Accelerando, 198 Analogous-concepts approach Band, 189
Accents, Dalcroze technique, 233–234 Bar lines, 37
Accidentals, in glockenspiels, 129–130 balance, 347–349 Baroque recorder, 131–132, 133
Acoustic guitar, 143 contrast, 341–344 Basie, Count, 332
Action. See also Movement repetition and enlargement, 337–341 Bass drum, 183
unity, 345–347 Bassoon, 179
portrayals of, 357–358 Animal songs, 376–379 Bass (voice), 175
Action songs, 372–375 “Anvil Chorus,” 183, 184, 202 “Battle Hymn of the Republic,” 197, 218,
Active learning, 3 Apache music, 319–320
Active listening, 190 Apple Computers, iPods/iTunes, 16, 18 414–415, 434
Activities, choosing, 22 Applications (apps), 16 Beat, 35–36. See also Movement
“Adagio,” 178 instrument, 160–161
Additive songs, 104 “Arabian Dance,” 233 in African music, 286
“Adoration of the Earth/Harbingers Arch form of melody, 278 in Dalcroze technique, 232–233
“Are You Sleeping,” 235 in European music, 307
of Spring,” 234 “Arkansas Traveler, The,” 324 movement to, with sense of timing, 229–230
Affective learning, 3 Armour, Richard, 340, 345 movement with no external, 228–229
African American music Armstrong, Louie, 332 “Bee, Bee, Bumble Bee,” 94, 95–97
Arts Beethoven’s Symphony No. 6, 4, 234, 350, 352,
blues, 330–331 analogous concepts in relating music and,
jazz, 331–333 357, 358
spiritual, 328–329 336–349 Behn, Harry, 341, 342, 352, 368
African music, 284–294 cross-cultural approach in relating music Bells
background information on, 284–285
characteristics of, 285–286 and, 366–368 agogo, 291
sample lessons, 286–294 historical approach in relating music and, handbells, 130–131
African rattle, instructions for making, 167 melody bells, 127–129
Agbeko dance, 293 359–366 resonator bells, 129
Agogo bells, 291 thematic approach in relating music and, step, 128–129
“Ahrirang,” 54 Binary form, 60–61
“Ah! Vous dirai-je, Maman,” 362, 365, 366 349–358 lesson plans, 203–204
Airplane songs, 427 Art songs, 69 “Blessing Song” (My Father’s Son), 319–320
“Aizu Lullaby,” 241–242 Ascending melodies, 278 Bluegrass music, 324–325
Albert, Herb, 170, 171 ASD. See Autism spectrum disorders (ASD) Blue III (Miro), 354, 355
A Lincoln Portrait, 218–219 Asian music, 294–305. See also China, music Blues, 330–331
“All Night, All Day,” 114, 116–118, 138 Body awareness, developing, 226–230
Alto (voice), 175 of; Japan, music of Body sounds, 271–273
Amahl and the Night Visitors, 205–208 background information on, 294–295 Bolero, 339, 341, 343, 344
“America,” 38, 58, 111, 142, 234 characteristics, 296 “Bones Trombone,” 180
descants for, 137 understatement in, 295 Bongo drums, 41, 42, 158
America, patriotic songs of, 430–434 Assessments, 25–26 Boomwhackers, 29, 53, 131
“American Idol,” 73 national standards in music education, Brass instruments, 180–181
American music. See also African American Breathing habits, for singing, 73
15–16, 25 Britten, Benjamin, 187
music; Native American music “Audacity,” 16 Broadway Boogie Woogie (Mondrian), 343,
background information for, 317 Augmentation, 198
bluegrass music, 324–325 “Auld Lang Syne,” 405–406 344, 345
folk and country music, 322–325 Autism spectrum disorders (ASD), learning for Brubeck, Dave, 333
Mexican music, 326–328 Brush strum, 148
sample lessons, 318–333 students with, 13–14 “Buffalo Head Dance,” 321
American Music Therapy Association Automobile songs, 427
Autumn songs, 421 C
(AMTA), 15 “Ave Maria,” 354, 355, 356, 360, 361
American Revolution, 359, 361–366 Aviary.com, 44, 53, 57 Call-and-response songs, 77, 109
in African music, 286
B

“Badinerie,” 35
Bagpipe music, 314–316

450
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Campbell’s Soup Cans (Warhol), 337 Claves, 41, 154 fast and slow concept, 233
“Camptown Races,” 35, 218 instructions for making, 167 melodic contour, 237
“Candy Man, The,” 232 rhythm patterns in, 235–237
Canon in D Major, 271 “Clementine,” 150 Dampers, 122
Canons Closure, for learning experience, 25 Dance
Cloud-based resources, 17 agbeko dance, 293
rhythm speech, 261–262 “Cloudburst,” 212, 216, 234 ballet, 210–211
singing, 105 “Co A Tin,” 408 Kalamantianos, 311–312
Canterbury Cathedral, 360, 361 Codas in Orff technique, 258 line dancing, 255
Canterbury Tales (Chaucer), 360, 361 Cognitive disorders, learning for students Native American, 321–322
Capo (capotasto), 148 singing and dancing games, 242–255
Carnival of the Animals, 177, 182, 212–213, with, 11–13 “Dance Dance Revolution” video game,
Cognitive learning, 2–3
233, 342 Color-coding system for melody 230, 255
“Carnival of Venice,” 164 “Dance of the Adolescents,” 357, 358
Castanets, 184 instruments, 276 “Dance of the Sugar Plum Fairy,” 185
“Cat, The,” 178 “Colorful Boats,” 139, 297–299 Dave Brubeck Quartet, 333
“Catatumba,” 382–383 “Columbia, the Gem of the Ocean,” 411–412 Da Vinci, Leonardo, 349
C chord, 58 Committees for programs, 428 “Deck the Halls,” 400
CEC. See Council for Exceptional Children Community resources, for enhancing Declaration of Independence, 361–363, 430
Declaration of Independence, The (Trumball),
(CEC) learning, 8
Celesta, 185 Composer, 175 362–363
Cello, 176–177 Composition, 31 “De Colores,” 436–437
Chants, 70, 75 Computer, 16 “Deedle Deedle Dumpling,” 39
De la Mare, Walter, 355
Gregorian, 354, 355, 356, 360, 361 computer-based assignments, 18 Der Schwanendreher, 176
ostinato, 111–113 school computer laboratory, 18 Descants, 137, 142
“Charlie Over the Ocean,” 77 single computer in classroom, 17–18
Chartres Cathedral, 341, 360 Concepts, deciding on, 22 adding, 109–111
“Chattanooga Choo-Choo,” 426 Conceptual approach to learning, 5 Descending melodies, 278
Chaucer, Geoffrey, 360, 361 Concert, preparing students to attend, 220–222 Descrescendo, 55
“Chiapanecas” (Mexican Hat Dance), “Concord Hymn,” 430 Designing integrated techniques, 21–26
Conducting patterns, 86 Dialogue songs, 106–109
249–250 Conga drums, 41, 42, 158, 291 “Did You Ever See a Lassie?”, 109–110, 111,
Chicka Chicka Boom Boom, 36 “Consider Yourself,” 232
Child-centered learning, 3–4 Contrabassoon, 179 142, 232, 242–243
“Chim Chim Cher-ee,” 232 Contrast descants for, 137
Chimes, 182 analogous-concepts approach, 341–344 “Dies Irae,” 183
China, music of lesson plans, 170–171 Digital music players (DMPs), 16–17
Cooperative learning, 7 Digital Song Card Guitar, 149–152
background information for, 294–295 Council for Exceptional Children (CEC), 15 Digital video discs (DVDs), 17
characteristics of, 296 Countermelodies, adding, 109–111 Diminution, 198
instruments, 296 “Counting out” chant, 36 Directed listening, 2
sample lessons, 297–301 Country music, 322–325 “Dixie,” 197, 434
“Chinese New Year” (Poh), 408–409 Creativity. See also Writing music Dixieland, 332
Chinese New Year songs, 408–409 with body sounds, 271–273 DMPs. See Digital music players (DMPs)
Choir chimes, 131 with environmental sounds, 269–270 Doggies, 74
Chords, 58–59 improvising and, 259–266 “Do-Re-Mi,” 102, 237
on guitar, 146 with instrumental sounds, 267–269 Dot, 39
Chorus, 189 with vocal sounds, 266–267 Double bass, 177
Christmas songs, 397–402 Crescendo, 55 “Down in the Valley,” 150
“Cielito Lindo,” 114–116, 254, 327–328, 437 Cross-cultural approach to music and the arts, Downloads, 18–19
“Circus Parade,” 380–381 Dr. Seuss Band app, 160
Circus songs, 380–381 283–284, 366–368 Dramatic interpretive movement, 240–242
Clapping, 36 “Cuckoo, The,” 111–112 Drone harmony, 307
Clarinet, 178 Cultures. See also African music; American Drum circles, 274
Clarinet Concerto in E-flat, 233 DrumKit Lite app, 161
Classical guitar, 143 music; Asian music; European music Drums
Classical position with guitar, 147 cross-cultural approach to music and the apps, 161
Classical Symphony, 238 bass, 183
Classroom instruments, 120–172 arts, 283–284, 366–368 bongo, 158
guidelines for teaching, 121–122 Curwen, John, 93 conga, 158, 291
harmony instruments, 143–152 Cymbals, 155, 183 hand, 157, 167
improvising rhythms with, 265–266 snare, 182
instructions for making, 167 finger, 155 timpani, 181
language arts, integration with, 165–166 instructions for making, 167 Dukas, Paul, 190
melody instruments, 122–143 Duple meter, 3, 4, 37, 192, 232
percussion instruments, 153–161 D Durand, Asher, 350
science, integration with, 166
social studies, integration with, 168 Dalcroze, Émile Jacques, 230
Dalcroze technique, 230–237

accents in, 233–234
beat/meter in, 232–233
dynamics in, 234–235

General Index 451

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

Duration, 39 “Foggy Mountain Breakdown,” 324, 325 tablature, 147
symbols of, 40 Folk music, 322–325 transpositions with, 152
Folk songs, 69 tuning, 144–147
DVDs. See Digital video discs (DVDs) “Follow the Drinkin’ Gourd,” 418–420
Dynamics, 54–55 Forms, 60–66 H

Dalcroze technique and, 234–235 binary form, 60–61 “Hahvah Nahgeelah,” 143, 252–253
defined, 54 defined, 60 Half note, 39, 40, 41
lesson plan on, 168–169 fugue form, 63–64 Half step, 50
rondo form, 62–63 “Hallelujah Chorus,” 189
E ternary form, 61–62 Halloween songs, 388–390
theme-and-variation form, 64–66 Hand, Hand, Fingers, Thumb, 36
Echo songs, 76–77, 106–109 Four Seasons, The, 212, 214, 345, 346 Handbells, 130–131
“Edelweiss,” 232 Fragmentation, 198 Hand drum, 41, 157
Education for all Handicapped Children Act Free and public education (FAPE), 8
French horn, 180 instructions for making, 167
of 1975, 8 Frequency, of lessons, 23–24 Hand jive, 271
“Eensy, Weensy Spider,” 228 Frequency (musical), 166 Hand signs, for Kodály method, 92, 93
1812 Overture, 182 “Frère Jacques,” 113, 143 “Hanukkah Is Here,” 395
Eighth note, 39, 40, 41 Frets, 147 Hanukkah songs, 394–397
Eine Kleine Nachtmusik, 170, 171, 192, 193, 345 “Friar, The,” 360, 361 Harmonica, 300
Electric guitar, 143 “Frosty the Snowman,” 234 Harmonic minor scale, 52
Electronic instruments, 185–186 Fugue form, 63–64 Harmony, 104
Electronic keyboards, 122–126
“El Grillo,” 204, 205 G autism spectrum disorders, teaching
English horn, 178, 179 students with, 14
Enlargement, 6 “Galway Piper,” 35, 253, 314–315
Games, singing and dancing, 242–255 cognitive disorders, teaching students
analogous-concepts approach, 337–341 “GarageBand,” 16, 18, 44, 53, 57, 265 with, 12
Ensemble, percussion instrument, 163–164 “Gargoyles,” 165
“Entertainer, The,” 229 Geography, integrating music with, 382–385 gifted students, teaching, 11
Environment, for singing, 72–73 George Washington (Greenough), 363 melody instruments for, 141–143
Environmental sounds, 269–270 George Washington songs, 411–413 Harmony instruments, 143–152
Epic Drum Set app, 161 George Washington (Stuart), 362 guitar, 143–148
Epic Guitar app, 161 German recorder, 131 Q-chord, 149–152
Episodes, 63 “Get Along Little Dogies,” 168 Harp, 176, 177
“Erie Canal,” 35, 237, 421–423 Ghana, music from, 286–294 Harpsichord, 185
Eurhythmics, 230, 231 Gifted students, learning for, 11 Head voice, 73–74, 75
European music Gilmore, Patrick S., 196–197 Hearing, 174
“Glee” (TV program), 73 Hearing impairments, learning for students
background information for, 306–307 Glockenspiel, 129–130, 258
characteristics of, 307 Glover, Sarah, 93 with, 10–11, 56, 70
sample lessons, 307–316 “Gnat, The,” 185 “Hello, There!”, 76, 169
“Ewe Atsimivu,” 291–293 Goals “Hero’s Defeat, The,” 300, 301
Experience in Orff technique, 259 “He’s Got the Whole World in His Hands,” 109,
Exploration in Orff technique, 259 long-term, 21, 23
Exposition, 63 short-term, 21 110–111, 150–151
“Goblin, The,” 347, 348 “Hickory, Dickory, Dock,” 35, 45, 46
F “Go Down Moses,” 52–53 Hicks, Edward, 350
“Golliwog’s Cakewalk,” 234 High and low concepts, 78–79
Facebook, 17 Gong, 184 Historical approach, 359–366
Factory sound, 270 “Good News,” 126, 133, 140
Fanfare for the Common Man, 434 “Go Tell It on the Mountain,” 106, 107 The Age of the American Revolution, 359,
“Fantaisie-Impromptu,” 204, 205, 233, 238 Grade-level achievement standards, 25–26 361–366
FAPE. See Free and public education (FAPE) Gramatky, Hardie, 166
“Farandole,” 164 Grand Canyon Suite, 212, 216, 234 The Age of the Knights, 359–361
“Farmer in the Dell, The,” 114, 152, 245–246 Grease, 229 Arts of Japan, 367–368
Finger cymbals, 156 Greek music, 310–312 History, integrating music with, 385–387
FingerDrums app, 161 Gregorian chant, 354, 355, 356, 360, 361 “Hoedown,” 227
Fingering “Grizzly Bear Dance,” 321 “Hokey Pokey, The,” 246, 372–374
Guiro, 155 Holiday songs, 371, 387–416, 429–430
keyboard, 124–125 Guitar, 143–148, 176 “Home on the Range,” 22, 50, 51, 61, 168, 170
recorder, 132–133 apps, 161 Homophonic texture, 58–59
“First of January, The” (Uno de Enero), 435 capo (capotasto), 148 Hopi music, 318–319
“Five Fat Turkeys,” 391–392 frets, 147 Horn Concerto No. 3, 62–63, 180, 202
“Five Green and Speckled Frogs,” 43–44, parts of, 144 “Hot Cross Buns,” 38, 39, 133
positions for playing, 147–148 “Hotter Than That,” 331, 332
417–418 strumming, 148
“Five Little Frogs,” 236 I
“Five Little Pumpkins,” 27–29, 165
“Flamenco Dance Song,” 184 IDEA. See Individuals with Disabilities Act
Flat, 124 (IDEA)
“Flight of the Bumblebee,” 227, 233
Flute, 177, 178 “I’d Like to Teach the World to Sing,” 232
IEP. See Individualized education plan (IEP)
“If You’re Happy,” 374–375

452 General Index

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

Imagery, movement as expression of, 227–228 Jefferson, Thomas, 362, 363, 364, 430 school resources for, 8
“I’m Gonna Sing When the Spirit Says “Jesu, Joy of Man’s Desiring,” 238 for special needs students (See Special
Jewish holidays
Sing,” 239 needs students)
Improvising, 230, 259–266 Hanukkah songs, 394–397 structure of, 4–6
Shavuot songs, 390–394 teacher-centered, 3–4
with classroom instruments, 265–266 Sukkot songs, 390–394 Least restrictive environment (LRE), 8
melodies, 262–263 “Jimbo’s Lullaby,” 227 Legato, 82
ostinato patterns, 263–265 Jingle bells, 157 Length, of lessons, 23–24
speech patterns and, 260–261 instructions for making, 167 Lesson plans, 26–30
Individualized education plan (IEP), 8 “Jingle Bells,” 86–87, 157, 235, 236 fast/slow music, 29–30
Individuals with Disabilities Act (IDEA), 8 Jingle sticks, 157 “Five Little Pumpkins,” 27–29
Instructional technology, 16–19, 25 “Johnny B. Goode,” 203 Lessons, reminders for planning and teaching,
Instrumental sounds, 267–269 “Jolly Old Saint Nicholas,” 136, 398
Instruments. See also Classroom instruments; Joplin, Scott, 229 30–31
“Joy to the World,” 45, 46, 278 “Let’s Make a Jack-o’-Lantern,” 389
Orchestral instruments “Jumpin’ at the Woodside,” 331, 332, 333 Liberty, program for, 430–434
integrating into the classroom, 164–171 “Lift Every Voice and Sing,” 403–404
playing, 121–122, 202–205 K “Lightly Row,” 126, 140
selection of, 159 Lincoln Portrait, 218, 219, 415, 434
software, 160–161 Kalamatiano dances, 311–312 Line dancing, 255
variation in tone color with different Kazoos, 132 Lining out a song, 105
Keats, John, 350, 351 Listener, 175
types of, 56 “Keeper, The,” 106, 108–109 Listening, 190–222
Integrating music Kettledrums, 181
Keyboard instruments, 122–126, 184–185 directed, 2
action, 372–375 guidelines for lessons, 190–191
animals, 376–379 apps, 160–161 moving to music, 196–202
categories of, 371–372 Kindergarten children, singing and, 70–71 teacher’s role, 190–191
circus, 380–381 Kinkara (Golden Pavilion) at Kyoto, 367, 368 techniques for teaching, 191–205
classroom instruments, 265–266 Kodály, Zoltán, 92 visual representation, 191–195
holiday, 371, 387–416, 429–430 Kodály method, for teaching songs, 92–104 written listening guides, 195–196
language arts, 416–417 “Listen to the Wind,” 75–76
listening experiences in the classroom, hand signs, 92, 93 Little Engine That Could, The, 215
philosophy of, 92 “Little” Fugue in G Minor, 59, 63–64, 65
205–222 rhythm duration syllables, 92, 93, 94 “Little Jack Horner,” 71
mathematics, 417–418 tonal syllables, 93 “Little Marionettes,” 240
patriotic songs of the United States, Koto, 176, 296, 303, 368 “Little Shepherd, The,” 233
Kwanzaa songs, 402–404 “Little Shoemaker, The,” 230
430–434 “Kye, Kye Kule,” 109, 255, 289–291 “Little Tommy Tinker,” 228, 237
program planning for, 427–438 Little Toot, 166
science, 418–420 L “Little Train of the Caipira,” 233, 426
social studies, 382–387 Live performance, 174
with technology, 438 “La Cucaracha,” 251–252, 437 Locomotor movement, 226
transportation, 421–427 La Mer, 36 Logical sequence, teaching in, 22–23
Interactive white boards, 17 Language arts classroom, integrating “Lonesome Rider Blues,” 330–331
Interdisciplinary learning opportunities, 7–8 Long-term goals, 21
Intermediate grade students, singing and, 72 instrumental experiences in, 165–166 for various grade levels, 23
Internet, as learning tool, 18 Language arts songs, 416–417 “Looby Loo,” 79–80
Interpretive movement, 237–242 Laouto, 311 “Lost Your Head Blues,” 331
“In the Hall of the Mountain King,” 36, 164, 233 “La Raspa,” 255, 326–327, 436 Low and high concepts, 78–79
iPad, 16, 18 “Las Posadas Songs,” 399 LRE. See Least restrictive environment (LRE)
iPod, 17, 18 Last Supper, The (Da Vinci), 347, 349 “Lullaby,” 35, 36, 229
Irish bagpipe music, 316 Latino music, 326–328
“I Saw a Fish Pond,” 337, 338 Leading songs, 85–87 M
iTunes, 18
“I’ve Been Working on the Railroad (Dinah)”, conducting patterns, 86 Magic Piano app, 160
Learning Major scale, 49–51
143, 229, 423–424 Mallets, 128–129
Ives, Charles, 200, 201, 354, 356 active, 3 Mapping music experiences, 192
“I Wandered Lonely as a Cloud” (), 350, 351 affective, 3 Maracas, 41, 42, 154
“I Wish I Were a Windmill” ()?, 241 assessing, 25–26
child-centered, 3–4 instructions for making, 167
J cognitive, 2–3 Marche Militaire, 164
community resources for, 8 “Marine’s Hymn,” 434
“Jack and Jill,” 71 conceptual approach, 5 “Martin Luther King,” 407
“Jack-o’-Lantern,” 81 cooperative, 7 Martin Luther King Jr. Day songs, 406–407
Japan, arts of, 367–368 instructional technology in support of, “Mary Ann,” 150
Japan, music of “Mary Had a Little Lamb,” 125, 133, 140
16–19 Materials
background information on, 294–295 interdisciplinary opportunities, 7–8
characteristics of, 296 multicultural approach, 5
instruments, 296 multisensory approach, 5
sample lessons, 302–305 psychomotor, 2
Jazz, 331–333

General Index 453

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

choosing, 22 Dalcroze technique and, 230–237 “Old Paint,” 168
organizing, 4 as expression of problem solving, 226 “Old Texas,” 105
variation in tone color with size and type imagery, expression of, 227–228 “On Springfield Mountain,” 218, 414
interpreting musical ideas through, “On the Grasshopper and the Cricket,” 350, 351
of, 55–56 Opera, 205–208
Mathematics, songs on, 417–418 237–242 Operetta, 205
Maves, Kay, 165 with no external beat, 228–229 “Orange Blossom Special,” 227, 324, 325, 426
Mbira, 286 singing games and dancing, 242–255 Oratorio, 208–210
Melodic contour, Dalcroze technique and, 237 video games to teach music through, 255 Orchestra, 186–188
Melodic ostinato, 139–140 Mozart, Wolfgang Amadeus, 6, 364–365
Melodies Mr. Brown Can Moo! Can You?, 74 arrangement, 187
“Muffin Man,” 137, 151–152 orchestral instruments, 186
autism spectrum disorders, teaching “Mulberry Bush, The,” 244–245 websites, 189
students with, 14 Multicultural experience, 24–25 Orchestra, The (Ustinov), 186, 222
approach to learning, 5 Orchestral instruments, 176–186
cognitive disorders, teaching students Multisensory approach electronic instruments, 185–186
with, 12 developing, 24 keyboard instruments, 184–185
to learning, 5 percussion instruments, 181–184
defined, 44 Music, reading, 87 stringed instruments, 176–177
improvising, 262–263 Music Ace, 16 wind instruments, 177–181
instruments for playing, 122–138 Musical compositions “O Rest in the Lord,” 175
phrases of, 49 familiar song in, 196 Orff, Carl, 202, 258
range of, 46–48 songs used in larger, 200–201 Orff technique, 258–259
scales and, 49–54 Musical expression Organizations, 15
shape of, 46 composer, 175 Orion Mc (Vasarély), 341, 342, 343, 344, 345
steps or skips, movement by, 45–46 listener, 175 Ostinatos
using melody instruments in the classroom, performer, 175 chants, 111–113
Musical fiesta program, 435–438 melodic ostinato, playing, 139–140
138–143 Music Man, The, 233 patterns, 263–265
writing, 274–277 Music notation, reading, 98–102 “O Susanna,” 49, 250–251
Melody bells, 127–129 MusicSparkles app, 160 Overhead projectors, 17
“Merrily We Roll Along,” 58–59, 135 MusicTheory.net, 16 “Over There,” 434
Messiah, 208–210 “My Big Black Dog,” 376–377 “Over the River and Through the Wood,”
Metallophone, 130 “My Bonnie,” 114
in Orff technique, 258 “My Girl,” 44 392–393, 430
Metal percussion instruments, 155–157 “My Hat,” 59 “Over the Waves,” 164
Meter, 37–39
Dalcroze technique, 232–233 N P
defined, 37
duple meter, 37 National standards in music education, 15–16 “Pacific 231,” 215, 233, 426
signature, 37 Native American music, 318–320 Partner songs, 114–118
triple meter, 37 Part singing, 104–118
Mexican music, 326–328, 435–438 dance and, 321–322
“Michael, Row the Boat Ashore,” 77, 126 Nature call-and-response songs, 77, 109
“Michael Finnegan,” 89–91, 94, 101–102 canons, 105
Microphones, 70 Japanese art and, 368 countermelodies, adding, 109–111
Middle C, 124 portrayals of, 350–353 descants, adding, 109–111
MIDI (musical instrument digital interface), 17 as theme in Asian music, 295 dialogue songs, 106–109
Minor scale, 52–53 New World Symphony, 178 echo, 76–77
harmonic, 52 New Year’s Day songs, 404–406 echo songs, 106–109
“Mister Turkey,” 391 Nonlocomotor movement, 226 lining out songs, 105
“Mixcraft,” 16 “Nota,” 18 ostinato chants, 111–113
Mockler, Anthony, 360 Notes, 39, 40 partner songs, 114–118
Moldau, The, 350, 352, 353 duration of, 39, 41 rounds, 113
Monophonic texture, 58 Notre Dame Cathedral, 360 Patriotic songs, of United States, 430–434
Monroe, Bill, 325 Patterns
Monticello, 363, 364 O conducting, 86
Moon, The (Miro), 341, 342 in singing, 79–81
“More We Get Together, The,” 56–57 Objectives, developing, 22 Peaceable Kingdom, The (Hicks), 350
Morrison, Lillian, 357 Oboe, 178, 179 “Pease Porridge Hot,” 42
“Mos,’ Mos’!”, 255, 318–319 “O Come, All Ye Faithful” (Adestes Pedal
Mother Goose Suite, 179 piano, 122
Mountain dulcimer, 322–323 Fideles), 401 pipe organ, 184
Movement, 196–202 “Ode to Joy” (Ninth Symphony), 137 “Peddler (Korobushka), The,” 52, 141
autism spectrum disorders, teaching “O Hannukkah,” 395–397 Pentatonic scale, 53–54, 139, 258, 275–276
“Old Castle, The,” 178 “People on the Bus, The,” 227, 338
students with, 14 “Old Colony Times,” 412–413 Percussion composition, creating, 272–273
to beat with sense of timing, 229–230 “Old MacDonald Had a Farm,” 46, 48, 416–417 Percussion instruments, 153–161, 181–184
body awareness, developing, 226–230 “Old Man River,” 175 accompaniment to song, 271–272
cognitive disorders, teaching students “Old Monk Sweeping the Buddhist Temple,”

with, 13 300, 301

454 General Index

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

adapted, 158 Quality of sound, 56 “Row, Row, Row Your Boat,” 46, 59–60, 114,
apps, 161 Quarter note, 39, 40, 41 139, 144, 221, 340
metal instruments, 155–157
rhythm accompaniments, 162–163 R Russian music, 308–310
rhythm ensemble, 163–164
selection of, 159 “Rain, Rain, Go Away,” 136, 138 S
skin instruments, 157–158 “Rakish Paddy,” 314
tone color and, 56 Ramadan songs, 387 “Sakura,” 302–304, 367, 368
wood instruments, 153–155 Range “Salamanca Market,” 100, 105, 106
Performer, 175 Saltarello, 361
Performing ensembles, 186–189 children’s vocal, 69 “Samiotissa,” 310–312
Perlman, Itzhak, 222 of melodies, 46–48 Sand blocks, 155
Personal lives, relating music to, 24 Ratchet (twirl), 41, 42
Peter and the Wolf, 165, 177, 178, 181 Reading rhythms, 39–42 instructions for making, 167
Phrases, of melodies, 49 Real Piano app, 161 Sandburg, Carl, 354, 355
Physical disabilities, learning for students Recorder, 131–138 Saxophone, 178
fingering, 132–133 Scales, melodies and, 49–54
with, 10 songs for, 133–138
Pianos and keyboards, 185 Recorder Excellence, 138 major scale, 49–51
“Recuerdos de la Alhambra,” 313–314 minor scale, 52–53
app, 160–161 “Red River Valley,” 168 pentatonic scale, 53–54
fingering for, 124–125 Reeves, James, 340 Scene from Thanatopsis (Durand), 350
form of keyboard, 123–124 Rehearsals, 428 Schmid, Will, 164
for melodies, 122–126 Reinforcement, for learning, 6 School resources, for enhancing learning, 8
Piccolo, 177, 178 Repetition Science classroom, integrating instrumental
Piece, 31 analogous-concepts approach,
“Piñata Song (Al Quebrar la Piñata)”, 437–438 experiences in, 166–167
Pine Trees in Snow (Tohaku), 354, 355 337–341 Science songs, 418–419
Pine Trees in the Snow (Hasegawa), 367, 368 lesson plans, 170–171 Scottish bagpipe music, 316
Pipa, 300, 301 Requiem Mass in D minor, 175 Seasons, songs of, 421
Pipe organ, 184 Resonator bells, 129 “Send in the Clowns,” 238
Pisa Cathedral, 345 Rests, 41, 236 “Serenity,” 354, 356
Pitch, 30, 39, 166 “Reveille,” 45 Seven-note scale, 276–277
teaching songs to children and, 88 Rewards, 6 Seventh chords, 58
Pizzicato, 176 Rhythm, 225 Shakuhachi, 304–305, 368
Planets, The, 419 autism spectrum disorders, teaching “Shalom, Chaverim,” 149
Pluck-sweep strum, 148 Shape, of melodies, 45–46
“PocketGuitar,” 18 students with, 14 Sharp, 124
Poems beat, 35–36 Shavuot songs, 390–394
original, setting to music, 277–280 cognitive disorders, teaching students Shekere, 291
“Polly, Put the Kettle On,” 71 “Shenandoah,” 385–386
Polyphonic texture, 59–60 with, 12 Sheng, 300
Polyrhythm, African, 291 defined, 35 “Shika no Tone” (Deer Calling to Each Other
Pomp and Circumstance, 164 gifted students, teaching, 11
“Pop, Goes the Weasel,” 35, 248–249 meter, 37–39 in the Distance), 304–305, 354, 356,
Posture, for singing, 73 reading, 39–42 367, 368
Preschool children, singing and, 70–71 in speech, 260–261 Ship songs, 427
Presentation software, 17 syncopation, 43–44 “Shoemaker’s Dance,” 247
Presenting, 22 tempo, 36–37 Short-term goals, 21
Presidents’ Day songs, 411–416 Rhythm accompaniments, percussion Sign language, 225, 371
Primary grade students, singing and, 71–72 “Silver,” 354, 355
Problem solving, movement as expression instruments, 162–163 Simon Says, 226
Rhythm duration syllables, 92, 93, 94 “Simple Gifts,” 64, 65–66, 429
of, 226 Rhythm ensemble, developing, 163–164 Singing. See also Part singing
Program music, 212–219 Rhythm patterns, Dalcroze technique and, breathing habits for, 73
Programs environment for, 72–73
235–237 games, 242–255
additional ideas for, 428 Rhythm speech canons, 261–262 head voice, 73–74
committees, organizing, 428 Rhythm sticks, 153–154 high and low concepts, 78–79
liberty, 430–434 patterns in, 79–81
musical fiesta, 435–438 instructions for making, 167 posture and, 73
planning, for integrating music, 427–438 Rite of Spring, 357, 358 preparation for teaching, 81–84
rehearsals, 428 “Rock-a My Soul,” 163, 238–239 techniques for teaching, 72–81
Thanksgiving, 429–430 “RockBand,” 73 tones, matching, 75–77
Psychomotor learning, 2 Rodeo, 210–211 “Sing Star,” 73
“Roll On, Columbia,” 232, 383–385 Sitar, 176
Q Roman Colosseum, 339, 345 “Six Little Ducks,” 150, 378
“Rondo,” 170, 171 Sixteenth note, 39, 40, 41
Q-chord, 149–152 Rondo form, 62–63 Sketch I for Composition VII (Kandinsky), 357
Sonic Strings, 149 Rote, teaching songs by, 88–90 Skin percussion instruments, 157–158
Rote-note method, 90–91 “Skip to My Lou,” 35, 136
“Round and Round the Village,” 247–248
Rounds, 113, 143, 268

General Index 455

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

Slide projectors, 17 produced by Western orchestral Taj Mahal, 347, 348
Smart Boards, 17 instruments, 176–186 “Take Five,” 331, 332, 333
Smart Guitar app, 161 Tambourine, 41, 156
Smartphones, 17 quality of, 56 Teacher-centered learning, 3–4
Smith, Bessie, 331 vocal, creative experiences using, Teacher’s role in teaching listening, 190–191
Snare drum, 182 TeacherTube, 25
“Snow Fell until Dawn,” 350, 352 266–267, 268 Teaching, 22
Social media, 17 Sousaphone, 180, 181 Teaching music, options for, 31
Social studies, integrating music with, 168, “Spanish Flea,” 170, 171 Television, for learning, 17
Spanish music, 313–314 Tempo, 36–37
382–387 Special needs students Tenor (voice), 175
Software, 16 Ternary form, 61–62
adapted percussion instruments, 158
instruments, 160–161 basic principles for, 8–9 lesson plans, 204–205
presentation, 17 federal legislation for, 8 Texture
Solfège, 230 gifted students, 11
“Somebody Loves Me,” 409–411 hearing impairment, 56 defined, 58
Sonata for Bassoon and Piano, 179 hearing impairments, 70 homophonic, 58–59
Sonata no. 7, 233 students with ASD, 13–14 monophonic, 58
“Song of the Volga Boatmen,” 308–309 students with cognitive disorders, 11–13 polyphonic, 59–60
Songs, 31, 69. See also Part singing; Writing music students with hearing impairments, 10–11 Thanksgiving
action, 372–375 students with physical disabilities, 10 program for, 429–430
additive, 104 students with visual impairments, 10 songs for, 390–394
animal, 376–379 technological devices and, 162 Thematic approach, 349–358
children’s song interests, 71–72 visual impairment, 56 activity, 357–358
Chinese New Year, 408–409 websites and organizations for, 15 nature, 350–353
Christmas, 397–402 Speech, rhythm in, 260–261 stillness, 354–356
circus, 380–381 Spirituals, African-American music, 328–329 Theme-and-variation form, 64–66
Halloween, 388–390 “Spring,” 212, 214, 345, 346 “There Are Many Flags,” 432
Hanukkah, 394–397 Spring songs, 421 “There’s a Fiesta,” 313–314
holiday, 371, 387–416 Staccato, 82 “There Was a Crooked Man,” 337
Kodály method for teaching, 92–104 Staples, Mavis, 329 “This Happy Day,” 341, 342
Kwanzaa, 402–404 “Starlight, Starbright,” 139 “This Old Man,” 11, 136, 142, 225, 263
language arts, 416–417 “Stars and Stripes Forever,” 35, 36, 177, 189, 225 “Three Blind Mice,” 114
leading, 85–87 “Star-Spangled Banner, The,” 30, 46, 47–48, 434 “Three Little Kittens Who Lost Their
Martin Luther King Jr. Day, 406–407 Star Wars, 217
mathematics, 417–418 State standards in music education, 15–16 Mittens,” 71
New Year’s Day, 404–406 Steady beat, 35 “Ti-de-o,” 98–100
patriotic songs of America, 430–434 “Steal Away,” 54–55 Timbre. See Tone color
playing rhythm accompaniments to, Step bells, 128–129 Timpani, 181
Stillness, portrayals of, 354–356 “Tinga Layo,” 82–84, 342, 429
162–163 Stops, 184 Tippett, James, 343, 344
Presidents’ Day, 411–416 “Storm, The,” 4, 234, 350, 352, 357, 358 Tohaku, Hasegawa, 355
Ramadan, 387 String bass, 177 Tonality, 93
rote, teaching songs by, 88–90 Stringed instruments, 56, 176–177 Tonal syllables, in Kodály method, 93
rote-note teaching method, 90–91 Strumming guitar, 148 Tone chimes, 131
science, 418–421 Stuart, Gilbert, 362 Tone color, 55–57
seasons, 421 Subject, 63
Shavuot, 390–394 Sukkot songs, 390–394 in African music, 286
social studies and, 382–387 Summer songs, 421 in Asian music, 296
Sukkot, 390–394 “Sunken Cathedral, The,” 235 breathing habits to support singing, 73
teaching, 87–104 “Sunrise,” 238 defined, 55
Thanksgiving, 390–394, 429–430 “Swan, The,” 177 developing ability to match, 75–77
tone-matching, 76 Sweep strum, 148 in European music, 307
transportation, 421–427 “Sweet Betsy from Pike,” 50–51, 52, 140 exploring, 56–57
Valentine’s Day, 409–411 Swing jazz, 332 singing, matching tones and, 75–79
Sonic Strings, Q-Chord, 149 “Swing Low, Sweet Chariot,” 114, 138, 143, variation with instrument types, 56
Soprano recorder, 133 variation with materials, 55–56
Soprano (voice), 175 264–265, 328–329 variation with types of voices, 56
Sorcerer’s Apprentice, The, 190, 192–195 Symphony no. 94, 192, 195 visual representation of, 192
Sounds, 166 Symphony no. 40 in G Minor, 164 Tone-matching song, 76
body, creative experiences with, 271–273 Syncopation, 43–44, 198 “Tortoises,” 233
environmental, creative experiences using, Synthesizer, 185–186 Toy Symphony, 362, 365
“Synthesizer Effects,” 186 Train songs, 423–427
269–270 Syrinx, 177 Transfer, teaching for, 6
improvising and organizing, 259–266 Transportation songs, 421–427
instrumental, creative experiences using, T Transposition, with guitar, 152
Triangle, 156, 183
267–269 Tablature, of guitar, 147 instructions for making, 167
produced by voices, 175 Tablet computers, 16, 18

456 General Index

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

“Triangle Musical Instrument,” 183 Violin Concerto in E Minor (Rondo), 176, 222 “Winter Ravens Sporting over Water,” 298–299
Triple meter, 37, 192, 232 Violin Concerto in G Minor, 234 Winter songs, 421
Trombone, 180 Virtuoso Piano Free 2 app, 160 “Witch Rides, The,” 388–389
“76 Trombones,” 232 Visual impairments, learning for students with, Woodblocks, 41, 154
“Trucks,” 343, 344
Trumpet, 180 10, 56 instructions for making, 167
Trumpet Concerto in E-flat Major, Visual representations, music listening and, Wood percussion instruments, 153–155
Woodwinds, 177–179
Rondo, 429 191–195 Word meanings
“Trumpeter’s Lullaby,” 220, 221 Voice
Trumpet Voluntary in D, 180 autism spectrum disorders, teaching
Tuba, 180, 181 characteristics of child, 69–72 students with, 14
“Tuba Lullaby,” 180 creative experiences with, 266–267, 268
“Tuba mirum,” 175 sounds produced by, 175 cognitive disorders, teaching students
“Tue, Tue,” 255, 271–272, 287–289 variation in tone color with different types with, 13
Tuning, guitar, 144–147
“Twelve Days of Christmas, The,” 103–104 of, 56 gifted students, teaching, 11
“Twinkle, Twinkle, Little Star,” 185, 365 Wordsworth, William, 350, 351
Twitter, 17 W World Music Drumming, 164
Writing music. See also Poems
U “Waltz of the Flowers,” 177
“Washington Post March,” 182, 183 with pentatonic scale, 275–276
“Un Bel Di,” 175 Web, as learning tool, 18 preparing students for, 274–275
Undulating wave, 278 Web-based resources for learning, 16 with seven-note scales, 276–277
Unity, analogous-concepts approach, 345–347 Websites, 15 Written listening guide, 195–196
Upper elementary grade students, singing
orchestra, 189 X
and, 72 Web 2.0 tools, 17
Ustinov, Peter, 186, 222 “Wee Willie Winkle,” 261 Xiao, 299
“We Gather Together,” 393–394 Xylophone, 79, 129, 182
V “We’re America’s Children,” 277–280
“We Shall Overcome,” 406–407 in Orff technique, 258
Valentine’s Day songs, 409–411 “We Wish You a Merry Christmas,” 6, 61–62,
Variations on “America” for Organ, 184 Y
“Variations on Sakura,” 303 170, 171, 204–205, 229, 349
“Varsoviana,” 164 “When Johnny Comes Marching Home,” “Yankee Doodle,” 35, 40, 135, 232, 236, 363,
Vibration, 166 364, 434
Video games, to teach music through 196–199
“Whispers,” 354–355 “Yankee Doodle Boy, The,” 431
movement, 255 Whole note, 39, 40, 41 Young People’s Guide to the Orchestra, The,
“Viennese Clock,” 35 Whole step, 50
Viola, 176 “Wild Bird” (Kagome), 243–244 187, 188
Viola Concerto in G, 176 Willson, Meredith, 232 “You’re a Grand Old Flag,” 433, 434
Violin, 176 Wind instruments, 177–181 YouTube, 17, 18, 25
Violincello, 176–177 Yo! Yes?, 74
brass, 180–181
sheng, 300 Z
tone color and, 56
woodwinds, 177–179 Zheng, 299
“Zum Gali Gali,” 111, 112–113

General Index 457

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.