Musical Explorers

CARNEGIE HALL presents Musical Explorers My City, My Song A Program of The Weill Music Institute at Carnegie Hall for Students in Grades One and Two How Can Music Represent the Spirit of a Community?

2008–2009 TEACHER GuidE Second Semester

The Weill Music Institute at Carnegie Hall

The Weill Music Institute at Carnegie Hall CARNEGIE HALL presents Musical Explorers My City, My Song A Program of The Weill Music Institute at Carnegie Hall for Students in Grades One and Two How Can Music Represent the Spirit of a Community?

2008–2009 TEACHER GuidE Second Semester

The Weill Music Institute at Carnegie Hall

2008–2009 TEACHER GuidE Second Semester The Weill Music Institute at Carnegie Hall 881 Seventh Avenue New York, NY 10019 Author Phone: 212-903-9670 Tanya Witek Fax: 212-307-5766 Contributing Editors [email protected] Susan Landis carnegiehall.org/musicalexplorers Maria Schwab Marte Siebenhar Misty Tolle Associate Managing Editor Lora Dunn Design Evelyn Ochoa Illustrations Sophie Hogarth Audio Production Leszek Wojcik Sponsored by Orrick, Herrington & Sutcliffe LLP

The Weill Music Institute at Carnegie Hall

The Weill Music Institute at Carnegie Hall Dear Musical Explorers Teacher, TABLE OF CONTENTS

Welcome back to our yearlong Musical Explorers program!

This semester, we will continue on our journey, building on uNiT 5 How Can Music Help us to Celebrate? 7 discoveries from last semester as we encounter new neighborhoods, singers, and activities, and explore answers to the question “How can music represent the spirit of a community?” uNiT 6 How Can Music Help us Look for the Explore Again! sections of this Teacher Guide. to Communicate? 25 These “bridge” activities will prepare your students by making connections between the new lessons and their work last semester. uNiT 7 How Can We Work Together We have highlighted these important warm-ups, which occur throughout the Teacher Guide, by placing them in shaded boxes. to Make Music? 39 Before digging into this semester’s new curriculum, please revisit last semester’s curriculum through the Explore Again! activities listed on uNiT 8 Getting Ready for Our Second p. 6. You will also need CD 1 (which was included in last semester’s Musical Explorers Concert 49 Teacher Guide) as you go through this semester’s curriculum to help you make these connections. Throughout this Teacher Guide, we have noted the places in which you will need CD 1. This semester’s Teacher Guide includes CD 2, referenced throughout this semester’s curriculum.

We hope you enjoy the journey!

The Weill Music Institute at Carnegie Hall

The Weill Music Institute at Carnegie Hall unit 5 Preparation

Explore Again! How Can Music Help us An introduction to the Second Semester to Celebrate? of Musical Explorers Note: You will need the Student and Teacher Guides from Warm-up and Activities for SG61–63 last semester for this review. From Carnegie Hall to Brighton Beach (SG61) BREATHiNG Review vocal exercises with students. Practice last semester‘s Tell students that the Conductor will now guide them on the second part of their Yawning Kittens, Bouncy Ball, and Sirens exercises found in Unit 1, musical trip through New York City. We will start at Carnegie Hall and travel to Lesson 3, CD 1, Tracks 2–5. Brighton Beach, Brooklyn, to meet our next featured singer, Vlada. Have students turn to SG61 and help them: ViBRATiONS • Find our artists from last semester at Carnegie Hall in Manhattan. Return to SG10 (Unit 1, Lesson 3). Do your students notice any new • Find Vlada in Brighton Beach, Brooklyn. vibrations in their bodies now that they have been singing for several • Have students trace the route from Carnegie Hall to Brighton Beach in Brooklyn. months?

SONGS Meet Vlada! (SG62) Ask students: My Letter to Vlada (SG63) • “What was your favorite song from last semester? Why?” Read Vlada’s postcard on SG62 to your students. (Students will write their own letters Review and sing the songs from last semester (see SG58 in last semester’s to Vlada later in this unit, on SG63.) Teacher Guide).

MuSiCAL WORd WALL Review the words on the Musical Word Wall you created last semester. Ask students: • “Do we need to review the meaning of any of the words? Which ones?” • “Do you have any new words to add to the Word Wall? What are they?”

MuSiCAL NOTATiON Review the musical staff on SG11 and 12 (Unit 1, Lesson 4). Review and practice singing the five-note scale on SG 25 (Unit 2, Lesson 4). Review and practice different rhythmic values on SG41 (Unit 3, Lesson 5).

6 7 SG61 SG62

From Carnegie Hall to Brighton Beach Meet Vlada! Now we’re ready to go from Carnegie Hall to Brighton Beach in Brooklyn to meet our next singer, Vlada. Find Carnegie Hall and our first three artists on the map. Then find Vlada on the map.

Trace the correct route that leads from Carnegie Hall toQUEENS Brighton Beach!

Greetings from Carnegie Hall Brighton Beach

Start

MANHATTAN Gregory

Anne-Marie

BROOKLYN Dear Musical Explorers, Welcome to Brighton Beach, Brooklyn! I was born far away, in Falu Ukraine, and I grew up in Bulgaria in Eastern Europe. I started singing when I was four years old and I have not stopped since then! Where Musical Explorers I come from, we sing to celebrate Vlada c/o Carnegie Hall special occasions, such as Brighton Beach birthdays, holidays, and weddings. 881 Seventh Avenue Finish I will sing these kinds of songs for you at Carnegie Hall. After the con- New York, NY 10019 cert, write to me and let me know which songs you liked the best! Sincerely, Vlada

8 9 unit 5 Lesson 1 SG63

My Letter to Vlada How Can Songs Help us to Celebrate?

CREATiNG AIM: To explore the meaning of birthdays and how they can be celebrated through song in different countries. Write a letter to Vlada to let her know the kind of music you and your MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils, family like listening to. Ask Vlada anything you would like to know markers, and crayons; chart paper; Musical Word Wall about her. You can also draw pictures in your letter! STANDARDS: US 1, 6, 8, 9; NYC 1, 2, 3 SUMMARY: In this lesson, students will explore the meaning of a birthday within their own families and hear how birthdays are celebrated through song in the United States and Russia. Students will build on the listening skills they developed last semester. VOCABULARY: birthday, celebrate, Russia, party Dear Vlada, Warm-up and Activities for SG64 Warm up students’ singing voices with the Yawning Kittens, Bouncy Ball, and Sirens exercises, CD 1, Tracks 2–5, and the “Carnegie Hall Musical Explorers Song,” CD 1, Track 1. Sing a favorite song from last semester’s curriculum with students (see SG58 for a list of songs).

Exploring Birthdays (SG64) CLASSROOM TEACHER ACTIVITY Facilitate a discussion with students. Ask students: • “How do we celebrate birthdays?” For homework, ask students to interview their parents, grandparents, or guardians about their memories of their childhood birthdays. For example, students can ask: • “Did you celebrate your birthday with your family? If so, how?” • “What were some of your family’s traditions?” (Responses might include: “We had a piñata.” or “We had a big party.”) • “Was there a song your family sang or played on birthdays?” • “How did you feel the day after each birthday?” Sincerely, • “Do you have any photos of one of your family’s birthday celebrations?”

10 11 unit 5 Lesson 1 SG64

MUSIC TEACHER EXTENSION Facilitate a discussion with your students. Ask students: Exploring Birthdays • “How do we celebrate birthdays?” How do we celebrate birthdays? To follow up on this discussion, have students share results from their interviews with family members from p. 11 and document their responses on chart paper. On SG64, have students draw either a family member’s birthday party or the CREATiNG student’s own birthday party. Draw a birthday party that you have attended. LISTENING AND COMPARING TwO DIFFERENT BIRTHDAY SONGS Sing “Happy Birthday” with the recording, CD 2, Track 1. Ask students: • “What mood does this song make you think of? Why?” • “What do you feel when you sing this song?” Listen to Vlada’s recording of the Russian birthday song “Cheburashka i Gena” (pronounced Che-boor-ASH-ka EE GEY-na) (also called “Birthdays Come Only Once a Year”), CD 2, Track 2. Ask students: • “What kind of mood does ‘Birthdays Come Only Once a Year’ make you think of? Why?” • “How is the mood of the music similar to or different from the ‘Happy Birthday’ song that we usually sing?” Explain to students that, in Russia, people sing “Birthdays Come Only Once a Year” to celebrate birthdays. The song comes from a well-known and beloved animated Russian film, and celebrates the magic of a birthday. Gena, the film’s main character, sings the song to tell his friend Cheburashka that he thinks it is sad that birthdays only happen once a year. Listen to “Birthdays Come Only Once a Year” again, CD 2, Track 2. Ask students: • “Now that you know more about the song, does the mood sound different?” • “What do you notice about the sound of the words?” • “Are there any sounds we can repeat after listening to the song again?” Note: Remind students to refer to the Musical Word Wall if they need help generating ideas.

Read the simplified English version of the chorus on p. 17 to students.Ask students: • “What kind of picture do you imagine when you listen to this song?” • “What do you notice about the words in this song?” • “What do you feel when you listen to this song?” • “Do any of these questions relate to our thoughts about the more familiar ‘Happy Birthday’ song we listened to earlier?”

12 13 unit 5 Lesson 2 unit 5 Lesson 2

How Can We Explore Mood in Music for The Five-Note Major and Minor Scales (SG65) Celebrations? LISTENING AND SINGING IN MINOR Review the five-note major scale with students on SG65 (see also Unit 2, Lesson 4, SG25), CD 1, Tracks 15–16. AIM: To explore the five-note minor scale and learn the refrain from “Birthdays Come Listen to the five-note minor scale, CD 2, Tracks 3–4. Only Once a Year.“ Introduce the five-note minor scale on SG65 to students. Sing the note names MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils, with students as you practice the ascending and descending minor scales. markers, and crayons; chart paper; Musical Word Wall Ask students to reflect on the differences they notice between the two scales. STANDARDS: US 1, 5, 6, 9; NYC 1, 2, 3 Sing along with the minor scale, and make movements with your body for each note, SUMMARY: In this lesson, your students will review the five-note major scale from the using the chartfive below note to guide minor you. Have scales students on do theseSG motions64... along with you. previous semester, and you will introduce students to a five-note minor scale. Students will learn to sing the refrain from “Birthdays Come Only Once a Year” in Russian. VOCABULARY: language, mood, five-note scale, major, minor, lyrics, Russian

Warm-up and Activities for SG65 Warm up students’ singing voices with the Yawning Kittens, Bouncy Ball, and Sirens exercises, CD 1, Tracks 2–5, and the “Musical Explorers Song,” CD 1, Track 1. C d Eb F G Explore Again! do Re Me Fa Sol • Set the stage for learning a foreign-language song. Revisit the Gaelic phrases the students learned last semester (Unit 2, Lesson 3), CD 1, Tracks 8–12. • Revisit the languages represented in the classroom community as you review the language activity from SG32 (Unit 3, Lesson 1). • Help your students to recall the experience of learning foreign words by Now that we have explored the five-note minor scale, we are ready to learn the revisiting the language collage from SG34 (Unit 3, Lesson 1). chorus of “Birthdays Come Only Once a Year.”

MUSIC TEACHER EXTENSION Play other familiar major-key songs for your students (for example: “Mary Had a Little Lamb,” CD 1, Track 27) in both a major key and the corresponding harmonic minor key on a keyboard or a pitched percussion instrument. Ask students how the mood of each song changes when played in minor, as opposed to major.

14 15 unit 5 Lesson 2 unit 5 Lesson 2

LISTENING TO AND SINGING THE MELODY LISTENING TO AND LEARNING THE LYRICS Have students learn the melody for “Birthdays Come Only Once a Year” through the call-and-response tracks listed below. Have them sing the syllable “la” for each note. Point to the parts of your body indicated by the pictures below the music. Cheburashka i Gena Then, teachRussian students theBirthday accompanying Song movements. - phrase Practice each1 18 track notes until RUSSIAN LYRICS students are comfortable with the phrases and movements. Ya igrayu na garmoshke Phrase 1 U prohojih na vidu K sojalenyu den rojdenia tol. b Tolko raz v godu! b b 4 Ó Œ Œ Œ Œ œ œœœ œb Œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ Birthdays Come Only Once a Year ENGLISH SUMMARY* It’s raining and the people are rushing through the streets. • Phrase 1 (call and response) on “La,” CD 2, Track 5. Russian Birthday Song - phrase 2 13 notes No one knows why I am so happy. • Phrase 1 on “La,” CD 2, Track 6. Everyone passing by sees me playing my accordion. Phrase 2 Too bad a birthday only comes once a year! *Note: The English version is not a literal translation of the Russian lyrics. & b 4 & b b 4 Ó Œ œ œ œ œ Œ œ œ œ œ Œ œ œ ˙ ˙ Ó ˙ Review the role of the lyrics. If necessary tell students that lyrics are the words sung in a piece of music. Teach students the Russian lyrics using these practice tracks with transliterated lyrics. &• PhraseRussian 2 (call and response) Birthday on “La,” Song CD -2, phraseTrack 7. 2 13 notes • Phrase 2 on “La,” CD 2, Track 8. • Phrase 1, CD 2, Track 12: Phrase 3 Ai-ya ee-grai-yoo / Na gar-mosh-kyeh / Ooh pra-ho-jeh / Na vee-doo, na vee-doo

& () bb 4 Ó Œ œ œ Œ Œ ˙ Ó • Phrase 1 (call and response), CD 2, Track 13: & b 4 œ œ œ œ œ œ œ ˙ ˙ œ ˙ Ai-ya ee-grai-yoo / Na gar-mosh-kyeh / Ooh pra-ho-jeh / Na vee-doo, na vee-doo

• Phrase 2, CD 2, Track 14: Kso ja layn-yoo / dayn rosh dain-yah/ tol-kah ras vgar doo &• Phrase 3 (call and response) on “La,” CD 2, Track 10. • Phrase 3 on “La,” CD 2, Track 9. • Phrase 2 (call and response), CD 2, Track 15:

Kso ja layn-yoo / dayn rosh dain-yah/ tol-kah ras vgar doo • Ask students to listen for repeating patterns in the melody. & Note: Students may notice that the melody ascends as they act out these movements.

& 16 17 unit 5 Lesson 2 SG65

• Phrase 3, CD 2, Track 16: The Five-Note Major and Kso ja layn-yoo / dayn rosh dain-yah/ tol-kah ras vgar doo Minor Scales • Phrase 3 (call and response), CD 2, Track 17: Kso ja layn-yoo / dayn rosh dain-yah/ tol-kah ras vgar doo LiSTENiNG and LOOKiNG • Phrases 1–3, CD 2, Track 18. This is the five-notePg. 22: major The scale Five we learnedNote Scale earlier on SG25.

BRINGING TOGETHER LYRICS AND MUSIC Now bring together the Russian lyrics and the music. Repeat theRussian call-and-response Birthday phrases Song (as you with did on Phoenetic p.16 with the syllable spellin “la”), but now have students sing the Russian text with you, CD 2, Tracks 19–25.

C d E F G bbb 4 Ó Œ Œ Œ & 4 œ œ œ œ œ œ œ œ œ do Re Mi Fa Sol Aiyaœ -- ee grai - yoo Na gar --mosh kyeh Ooh pra -

This is the five-notefive note minor minor scale. scales on SG 64... œb & œ œ Œ œ œ œœœ œ œ œ œ Œ œ œ ho- jeh Na vee - doo, na vee- doo. Kso ja layn- yoo dayn rosh

Œ Œ œ & œ œ œ œ ˙ ˙ œ dain- yah Tol- kah ras vgar doo.˙ Kso ja

b () & b b œ œ Œ œ œ œ Œ œ ˙ ˙ Ó œ œ ˙ ˙ C d Eb F G layn- yoo dayn rosh dain- yah Tol- kah ras vgar doo. do Re Me Fa Sol Practice singing this music often with your students—they will be singing it with Vlada &during the concert!

Note: If singing the song in Russian is too challenging for students, you can just sing the melody using other syllables (such as “la” or “doo”). &

18 19 unit 5 Lesson 3 unit 5 Lesson 3

• “What can grow in a garden?” (Responses might include: flowers, vegetables, How Can We Explore and Create Our and weeds.) Own Rhythms? • “ Why would you grow these things?” (Responses might include: “Flowers are beautiful to look at.” and “Vegetables are healthy to eat.”) AIM: To review note values introduced last semester and use these values to • “When should seeds be planted—in the spring, summer, or fall?” create original rhythms. • “What does a seed need to grow into a vegetable in a garden?” (Responses MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils, might include: water, soil, sunshine, and time.) markers, and crayons; chart paper; Musical Word Wall STANDARDS: US 1, 4, 5, 6, 9; NYC 1, 2, 3 LOOKING SUMMARY: In this lesson, your students will review rhythms and rhythmic With students, look at the pictures of gardens included in Vlada’s postcard on SG63. notation from last semester. Students will create original music and a “rhythm salad.” Facilitate a discussion about how these gardens are the same or different from the VOCABULARY: garden, pepper, harvest, seed, vegetable, rhythm, quarter note, ones in your students’ neighborhoods. eighth notes, half note, ti-ti, ta, ta-a, pipero, ostinato, salad

LISTENING AND CREATING Explore Again! Listen to “Dilmano” again, CD 2, Track 26. Have students create movements that • In the next activity, students will use simple rhythms based on words. mimic activities associated with a garden (for example: digging, gathering, and Review SG39 and 40 (Unit 3, Lesson 5) to help students prepare for this watering). Have students do these movementsPg. while 38 Introducing they listen Rhythms to the song. experience. [Composer] CREATING RHYTHMS Pg. 38 Introducing Rhythms Pg. 38 Introducing Rhythms Review eighth notes,[Composer] quarter notes, and half notes[Composer] with students (using the sounds Warm-up and Activities for SG66 ti-ti, ta, and ta-a ) . 1 Warm up students’ voices by singing the “Musical Explorers Song” as a class, Note: You can also review SG41 and 42 if needed.

CD 1, Track 1. 1 1 Practice singing “Birthdays Come Only Once a Year” with students, CD 2, Track 11 = ti-ti = ta = ta-a (on “la”) or CD 2, Track 15 (in Russian).

Listen to “Dilmano,” a song from Bulgaria that celebrates the joy of harvesting BrainstormPg. a38 IntroducinglistPg. of 38 Introducingvegetables Rhythms Rhythms with students (for example: pepper, broccoli, vegetables from the garden after a long growing season, CD 2, Track 26. carrots, onions, and cauliflower).[Composer] [Composer] Assign rhythmic values to each syllable of a word (for example: pepper=ta ta). EXPLORING GARDENS: CLASSROOM TEACHER EXTENSION 1 1 “Dilmano” explains how to grow a pepper, a common vegetable in Bulgaria. Explore the idea of planting a vegetable seed in a garden with students. Ask students: Pg. 38 Introducingpep-perPg.Pg. 38 38 Introducing Introducing Rhythms Rhythms Rhythms [Composer] [Composer][Composer] • “Have you ever been in a garden? Have you ever planted a seed?” Assign a rhythmic value to the word pipero (for example: ta, ti-ti ). Tell students that • “What do you remember about being in a garden?” pipero means “pepper” in Bulgarian. • “Are there any gardens in your neighborhoods? Who takes care of these 1 1 1 gardens?” pi - per - o

20 21 unit 5 Lesson 3 unit 5 Lesson 3

MUSIC TEACHER EXTENSION ADDITIONAL LISTENING Write the rhythms in traditional or non-traditional notation on the board. You can also listen to these additional Eastern European harvest songs: • “Harvest,” a folk song from the Eastern European nation Georgia (published in Our “Rhythm Salad” (SG66) Share the Music, Grade 2 by Rene Boeyer-White, Margaret Campbelle-duGard, Robert de Frece, Doug Goodkin, Betsy M. Henderson, Michael Jothen, Carol CREATING A “RHYTHM SALAD” King, Nancy L. T. Miller, and Ivy Rawkins. McGraw-Hill, 1998. 420 pp.) Divide the class into two groups. • Le Mystère des Voix Bulgares, Vol. 2, an album featuring the Bulgarian State Vocal Tell students that they are going to mix together two rhythms, just as they might mix Choir (Nonesuch, 2006; B000005IYL) lettuce and tomatoes together in a salad. Assign a vegetable, such as a pepper, to one group. Practice repeating this word to create an ostinato. (Tell students that “an ostinato is a repeating musical idea.”) Assign another word, such as pipero, to the other group. Practice repeating this word to create an ostinato. Layer these two rhythms together. Start with one of the groups and, after a few repetitions, bring in the next group. Stop the students whenever you wish.

Pg. 38 IntroducingPg. 38 Introducing RhythmsPg. 38 IntroducingRhythmsPg. 38 Introducing RhythmsPg. 38 Introducing RhythmsPg. 38 Introducing RhythmsPg. 38 Introducing RhythmsPg. 38 Introducing Rhythms Rhythms For example: [Composer] [Composer] [Composer] [Composer] [Composer] [Composer] [Composer] [Composer] “Pep-per, pep-per, pep-per, pep-per …” CD 2, Track 27

1 1 1 1 1 1 1 1

pep-per pep-per pep-per pep-per Pg. 38 IntroducingPg.Pg. 38 38 Introducing Introducing Rhythms Rhythms RhythmsPg. 38 IntroducingPg.Pg. 38 38 Introducing Introducing Rhythms RhythmsPg. Rhythms 38 IntroducingPg.Pg. 38 38 Introducing Introducing Rhythms RhythmsPg. Rhythms 38 IntroducingPg.Pg. 38 38 Introducing Introducing Rhythms Rhythms Rhythms [Composer] [Composer][Composer] [Composer] [Composer][Composer] [Composer] [Composer][Composer] [Composer] [Composer][Composer] “Pi - per-o, pi - per-o, pi - per-o, pi - per-o …” CD 2, Track 28

1 1 1 1 1 1 1 1 1 1 1 1

pi - per - o pi - per - o pi - per - o pi - per - o

Write some of the rhythms for your “rhythm salad” on chart paper. Students can also copy these rhythms into their books on SG66.

MUSIC TEACHER EXTENSION Try the same activity using different vegetable words, and then using more groups in the class. Add percussion instruments and perform your “rhythm salad” for parents or another class.

22 23 unit 6 Preparation SG66

Our “Rhythm Salad” How Can Music Help us CREATiNG to Communicate? What does our “rhythm salad” look like? Warm-up and Activities for SG67 and 68 From Brighton Beach to St. George (SG67) Tell students that the Conductor will now take us from Brighton Beach to St. George, Staten Island, to meet our next featured singer, Lynne. Have students turn to SG67 and help them: • Find Vlada in Brighton Beach, Brooklyn. • Find Lynne in St. George, Staten Island. • Have students complete the maze that takes them from Brighton Beach to St. George, Staten Island.

Meet Lynne! (SG68) Read Lynne’s postcard on SG68 to your students. (Students will write their own letters to Lynne later in this unit, on SG71).

24 25 SG67 SG68

From Brighton Beach to St. GeorgeQUEENS Meet Lynne!

Now it’s time to meet our next singer, Lynne. Find Vlada in Brighton Beach. Then find Lynne in St. George. Get your pencil ready and see howCarnegie quickly Hall you can reach our next singer!

MANHATTAN

St. George

BROOKLYN

Dear Musical Explorers, St. George Greetings from St. George! Music NEW JERSEY Vlada is an important part of my family s life: We sing, play instruments, and Brighton Beach listen to music together all the Finish time! Music helps us to stay connected as a family. I enjoy STATEN Start all kinds of music anything from classical to Broadway and jazz. ISLAND What are some of your friends Musical Explorers favorite kinds of music? Write to c/o Carnegie Hall me and let me know! Enjoy the concert! 881 Seventh Avenue Lynne Your friend, New York, NY 10019 Lynne

26 27 unit 6 Lesson 1 unit 6 Lesson 1

How Can Songs Help us to Communicate? Have students name some of their favorite bedtime stories and lullabies on SG70. Have students tell Lynne about their favorite lullabies on SG71. AIM: To explore bedtime routines and the role music may play in these rituals. MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils, Explore Again! markers, and crayons; chart paper; Musical Word Wall • To help your students connect the concepts of sound and mood to the STANDARDS: US 1, 6, 8; NYC 1, 2, 3 next activities, review SG24 (Unit 2, Lesson 3). SUMMARY: In this lesson, students will explore bedtime rituals and connect these experiences to “Les Berceaux” (pronounced Lay Bear- SOH), a song by Gabriel Fauré • Add any new mood words to the Musical Word Wall. (For- AY). Students will learn to sing the opening of this song. VOCABULARY: lullaby, mood, lyrics, cradle, rocking, baby, nighttime LISTENING FOR MELODY AND MOOD Listen to “Les Berceaux” with your students, CD 2, Track 32. Add movements to Warm-up and Activities for SG69–71 the song, such as pretending to rock a baby to sleep, as students listen. Ask students: • “What mood does the music create?” Warm up students’ singing voices with the Yawning Kittens, Bouncy Ball, or Sirens exercises, CD 1, Tracks 2–5, and the “Musical Explorers Song,” CD 1, Track 1. • “How do you want to move your body when you hear this music?” Sing a favorite song from last semester’s curriculum with students (see the list Add any new words to the Musical Word Wall. on SG58). Practice singing “Birthdays Come Only Once a Year,” CD 2, Track 25. Read the English summary of the lyrics below to the students. Ask students: “Les Berceaux” (“The Cradles”), by Gabriel Fauré, is a French chanson that sounds • “What pictures do you imagine?” like a lullaby. This song communicates tenderness and could be used to soothe a baby. In French, les berceaux are also cradle songs, or lullabies. • “What do you feel when you hear the words to this song?”

What Are Some Things We do Each Night Before We Sleep? (SG69) Exploring Lullabies (SG70) Les Berceaux The Cradles

My Letter to Lynne (SG71) FRENCH LYRICS ENGLISH SUMMARY* Le long du quai, les grands vaisseaux, There are big boats at the dock. EXPLORING LULLABIES Que la houle incline en silence, They pay no attention to the Ne prennent pas garde aux berceaux, Explore bedtime routines with your class. Ask students: cradles the mothers are rocking. • “Who might need help going to sleep at night?” Que la main de femmes balance. But soon, the mothers will have to • “How can you help a baby fall asleep?” Mais viendra le jour des adieux, wave goodbye as the sailors leave. • “What are some of your nighttime routines?” Car il faut que les femmes pleurent, Et que les hommes curieux, When the ships sail away, they • “What are some of the lullabies you know?” Tentent les horizons qui leurrent! feel the cradles pulling them back Have students circle the pictures on SG69 that remind them of bedtime. to the shore. Et ce jour -là les grands vaisseaux, Sing some familiar lullabies with the class, such as “Rock-a-bye Baby,” Brahms’s Fuyant le port qui diminue, Lullaby, and “Hush Little Baby,” CD 2, Tracks 29–31. Sentent leur masse retenue * Note: The English version is not a literal translation of the French lyrics. Students can pretend to rock a baby to sleep as they sing. Ask students: Par l’âme des lointains berceaux. • “What are the moods of these lullabies?”

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• Phrase 2, Parts A and B (call and response) (spoken), CD 2, Track 45: LISTENING TO AND SINGING THE MELODY Nuh pren-nen paw guard oh bear-soh Teach students to sing the melody to “Les Berceaux” on the syllable “la” using Kuh la meh day fem-muh ba-lawn-suh call and response (see below). Practice each track until students are comfortable singing this melody. Encourage them to continue their movements (such as rocking) • Phrases 1 and 2 (spoken), CD 2, Track 46: as they sing the melody. Luh lohn doo kay, lay grohn vay-soh • Phrase 1, Part A (call and response) on “La,” CD 2, Track 33. Kuh la ool ehn-kleen on see-lawn-suh • Phrase 1, Part B (call and response) on “La,” CD 2, Track 34. Nuh pren-nen paw guard oh bear-soh • Phrase 1, Parts A and B (call and response) on “La,” CD 2, Track 35. Kuh la meh day fem-muh ba-lawn-suh • Phrase 2, Part A (call and response) on “La,” CD 2, Track 36. • Phrase 2, Part B (call and response) on “La,” CD 2, Track 37.

• Phrase 2, Parts A and B (call and response) on “La,” CD 2, Track 38. BRINGING TOGETHER LYRICS AND MUSIC • Phrases 1 and 2 on “La,” CD 2, Track 39. Repeat the call-and-responseLes Berceaux phrases - Phrase as above, 1this and time 2with with the music, words If your students come up with more than one movement, create visual symbols to CD 2, Tracks 47–53. (Track 53 includes all of the phrases.) match their movements for each mini-phrase or phrase. Then, create a mini-listening map of the symbols on chart paper as you practice singing “Les Berceaux.”

j bb 12 œ œ œ. œ œ j j œ. j ‰ LISTENING AND LEARNING THE LYRICS & b 8 œ. J œ. œ œ ˙. œ œ œ œ œ œ œ Now teach your students the lyrics in French using the practice tracks on the CD. J ˙. œ. œ Luh lohn doo kay, lay grohn vay- soh. Kuh la ool ehn- kleen on see --lawn suh. Nuh

• Phrase 1, Part A (call and response) (spoken), CD 2, Track 40: j bb œ œ ˙. j j & b œ. J œ. œ œ ˙. œ œ œ œ j Luh long doo kay, lay grohn vay-soh pren- nen paw guard oh bear- soh, kuh la meh day femœ. - muhœ baœ --lawn˙. suh.˙. • Phrase 1, Part B (call and response) (spoken), CD 2, Track 41: Practice singing this song regularly with students. They will be singing it with Kuh la ool ehn-kleen on see-lawn-suh Lynne &during the concert! • Phrase 1, Parts A and B (call and response) (spoken), CD 2, Track 42: Note: If singing the song in French is too challenging for students, you can sing the melody using Luh lohn doo kay, lay grohn vay-soh other syllables (such as “la” or “doo”). Kuh la ool ehn-kleen on see-lawn-suh & • Phrase 2, Part A (call and response) (spoken), CD 2, Track 43: ADDITIONAL LISTENING Nuh pren-nen paw guard oh bear-soh You can also listen to these additional lullabies: • Lullaby: A Collection (Music for Little People, 1994. B000002M78) • Phrase 2, Part B (call and response) (spoken), CD 2, Track 44: & • Dreamland: World Lullabies and Soothing Songs (Putumayo World Music, 2003; Kuh la meh day fem-muh ba-lawn-suh B00008XESC)

30 31 SG69 SG70

What Are Some Things Exploring Lullabies We do Each Night Lullabies are songs we can sing before we go and sleep. Before We Sleep?

LOOKiNG Circle the photos that remind you of bedtime.

What are some of your favorite bedtime stories and lullabies?

32 33 unit 6 Lesson 2 SG71

My Letter to Lynne How Can Music Be used to Ask CREATiNG for Something? Write a letter or draw a picture for Lynne that tells her about AIM: To introduce students to “O Mio Babbino Caro” (Oh MEE-oh Bab-BEE-noh your favorite song or lullaby. You can also ask Lynne about the CAR-oh) by Giacomo Puccini (JA-co-moh Poo-CHEE-nee). songs her family sings. MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils, markers, and crayons; chart paper; sticky pipe cleaners; Musical Word Wall STANDARDS: US 1, 4, 6; NYC 1, 2, 3 SUMMARY: Students will explore the idea of pleading with their parents for something, and they will connect this experience to “O Mio Babbino Caro.” Students will also review the concept of musical contour and apply this concept Dear Lynne, to their listening. VOCABULARY: opera, aria, pleading, convincing, musical shapes

Warm-up and Activities for SG72 Warm up students’ singing voices by singing the “Musical Explorers Song” as a class, CD 1, Track 1. Practice singing “Birthdays Come Only Once a Year,” CD 2, Track 25, or “Les Berceaux,” CD 2, Track 53. “O Mio Babbino Caro” is a famous aria by Giacomo Puccini from the opera Gianni Schicchi (JAHN-nee SKEE-kee). In the song, a young woman tries to talk her father into letting her marry the man she loves.

Sincerely,

34 35 unit 6 Lesson 2 unit 6 Lesson 2

LISTENING FOR MOOD AND FEELING LOOKING AT AND REVIEwING MUSICAL SHAPES

O Mio Babbino Caro Explore Again! ITALIAN LYRICS • If your students need help remembering the difference between O mio babbino caro, mi piace è bello, bello volume and pitch, review SG38 (Unit 3, Lesson 3). Vo’andare in Porta Rossa, a comperar l’anello! • To prepare for the musical shapes activity below, review SG13 and 14 Sì, sì, ci voglio andare! e se l’amassi indarno, andrei sul Ponte Vecchio, (Unit 1, Lesson 4). ma per buttarmi in Arno! Mi struggo e mi tormento! O Dio, vorrei morir! Babbo, pietà, pietà! Babbo, pietà, pietà! LISTENING TO THE MUSICAL SHAPE OF “O MIO BABBINO CARO” With students, listen a second time to “O Mio Babbino Caro,” CD 2, Track 54. Ask your students to listen for how Lynne’s voice rises and falls as she sings the song. O My Dear Daddy Listen again, and ask students to trace the shape of the melody with their arms. ENGLISH SUMMARY* O my dear daddy, he pleases me, and is so handsome, handsome We will go to Porta Rossa to buy the ring! Yes, yes, we’ll go there! More Musical Shapes (SG72) And if love does not work out, I will feel like I could never be happy again. Create some new musical shapes on the board, using chalk, or using sticky pipe I am aching, I am struggling! Oh, I feel so hopeless! cleaners. Students can draw their new shapes in their books on SG72. Daddy, have pity, have pity! Daddy, have pity, have pity!

*Note: The English version is not a literal translation of the Italian lyrics. ADDITIONAL LISTENING You can also listen to these additional opera selections by Puccini: • Puccini and Pasta: A Romantic Italian Feast for Your Ears (Philips, 1996; B0000041FP) Facilitate a conversation with students about something they have wanted to do • Puccini: Great Opera Arias (Sony, 2002; B00005YQLA) in the past, but were not allowed to do, and tried to convince their parents to let them do. Ask students: • “How did you try to convince your parents to let you do this?” • “Did your parents change their minds?” • “How did you feel when you were trying to convince your parents?” With students, listen to “O Mio Babbino Caro,” CD 2, Track 54. Tell students that the singer is trying to talk her father into letting her do something. Ask students: • “What do you imagine the singer is asking to do?” • “Is there anything about the music that makes it sound like she is pleading with her father?” • “Does anything in the music remind you of how you sounded when you tried to convince your parents of something?” • “What do you think her father’s answer will be? Why?”

36 37 unit 7 Preparation SG72SG4

More Musical Shapes How Can We Work CREATiNG Let’s create more musical shapes. Start at the dot and make Together to Make Music? your own shape on the staff. Here is one of my musical shapes, or contours. Follow along with your finger and sing “la.” As the shape goes up and down, make your voice change Warm-up and Activities for SG73 and 74 pitch, moving betweenPg. 10: high Creating and low. Now Contours make your own From St. George to Morningside Heights (SG73) shapes and hum along! [Composer] Tell students that the Conductor will now take us from St. George to Morningside Heights, Manhattan, to meet our next featured singer, Tshidi (TSEE-dee). Have students turn to SG73 and help them: • Find Lynne in St. George, Staten Island. • Find Tshidi in Morningside Heights, Manhattan. • Have students trace the route from St. George to Morningside Heights.

Meet Tshidi! (SG74) Read Tshidi’s postcard on SG74 to your students. (Students will write their own letters to Tshidi later in this unit, on SG76.)

38 39 SG73 SG74 Morningside From St. George to Meet Tshidi! Heights Morningside Heights Now we are off to Morningside Heights to meet our next performer, Tshidi. Find Lynne in St. George, and trace the route that leads to Tshidi in Morningside Heights!

MANHATTAN Morningside Heights

Finish

Tshidi QUEENS

BROOKLYN

NEW JERSEY Dear Musical Explorers, Have you heard of the Broadway musical called The Lion King? I sing in that show! I live in Morningside Heights, but I grew up far away, in a country called South Africa. When I was your age, I sang all the time, and even made instruments Musical Explorers from things that I found in my Start c/o Carnegie Hall St. George neighborhood. I really enjoy making music with my friends, so I have 881 Seventh Avenue STATEN invited my pals Bongi and Junior to perform with me at Carnegie Hall. ISLAND Lynne New York, NY 10019 Write to me and let me know what you think about the concert! Your friend, Tshidi

40 41 unit 7 Lesson 1 unit 7 Lesson 1

How Can People Create Music LISTENING FOR NEw MOODS Listen to the entire track for “Thula Mama,” CD 2, Track 60. Tell students that the Together? first part of the song is music that a babysitter would sing to children to comfort them when their parents leave. Ask students: • “Can you tell by listening to the music when exactly the parents return home?” AIM: To introduce students to the song “Thula Mama.” • “What in the music tells you that is when the parents return?” MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils, • “What moods do you hear in the second part of the song?” markers, and crayons; chart paper; Musical Word Wall STANDARDS: US 1, 6, 8; NYC 1, 2, 3 LISTENING AND SINGING THE MELODY SUMMARY: Students will hear a lullaby from South Africa and compare it to Fauré’s Learn the melody and lyrics through the call-and-response tracks on the CD. “Les Berceaux” from Unit 6. Students will also explore the difference between solo Practice each of the following tracks until students are comfortable singing the song. and group music making as they learn to sing “Thula Mama.” • Phrase 1 (call and response), CD 2, Track 56. VOCABULARY: babysitter, movements, moods, solo, duet, teams, teamwork • Phrase 2 (call and response), CD 2, Track 57. • Phrase 3 (call and response), CD 2, Track 58. Warm-up and Activities for SG75 and 76 • Phrases 1–3 (no call and response), CD 2, Track 59.

Warm up students’ singing voices with the Yawning Kittens, Bouncy Ball, LISTENING: COMPARING A SOLO TO A DUET and Sirens exercises, CD 1, Tracks 2–5, and the “Musical Explorers Song,” Listen to Tshidi’s solo version of “Thula Mama,” CD 2, Track 55. Tell students CD 1, Track 1. that a solo occurs when one person is making music alone. Sing a favorite song from last semester’s curriculum with the students (see the list Compare to the duet version with Tshidi and her friend Bongi, CD 2, Track 60. on SG58). Tell students that a duet occurs when two people are making music together. Practice singing “Les Berceaux” with students, CD 2, Track 53. Ask students: Practice singing any of the familiar lullabies from Unit 6, Lesson 1, CD 2, Tracks • “How does the duet version with both singers sound different from the solo 29–31. version with just Tshidi?” “Thula Mama” is a traditional South African song, which is sometimes used as a lullaby. Babysitters sing the first section of the song to comfort children when their Looking at Teamwork (SG75) parents leave, and the children sing the second part when their parents return home. My Letter to Tshidi (SG76)

LISTENING: COMPARING “THULA MAMA” AND “LES BERCEAUX” LOOKING: HOw DO TEAMS wORK TOGETHER? With students, listen to “Les Berceaux” by Fauré again, CD 2, Track 32. Facilitate a discussion with your students about teamwork. Ask students: Review the moods and the types of movements the music inspired in students. • “When have you worked together in teams?” Now listen to the opening of “Thula Mama,” sung by Tshidi, CD 2, Track 60. • “What are some things that can only be accomplished by more than one person?” Tell students to move their upper bodies to the music as they listen. Ask students: • “Has anyone experienced making music with other people?” (Responses might include: playing in a musical group, or singing at home or in religious celebrations.) • “What moods does this music make you think of?” • “What was it like to work with other people?” • “How does the music make you want to move?” Have students circle pictures on SG75 where they see teamwork taking place. Create a Venn diagram on chart paper to record the similarities and differences between “Thula Mama” and “Les Berceaux.” Have students write a letter or draw a picture for Tshidi on SG76.

42 43 SG75 SG76

Looking at Teamwork My Letter to Tshidi

Circle the pictures where you see teamwork taking place. CREATiNG Write a letter or draw a picture for Tshidi about a time when you worked on a team.

Dear Tshidi,

Sincerely,

44 45 unit 7 Lesson 2 unit 7 Lesson 2

How Can We use Vocal Sounds to CREATING: ADDING SOME SPICE TO OUR “RHYTHM SALAD” LISTENING: Explore some South African sounds with your students, including Create Layers of Music? ululations (vocal trilling) and tongue clicks: • Q: a sound made by a tongue click, CD 2, Track 62.

AIM: To introduce students to “Inqola” by Shongiseni Duma (Bongi). • C: a sound made with the tongue on the top teeth, CD 2, Track 63. MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils, • X: a sound made on the side of the mouth, CD 2, Track 64. markers, and crayons; chart paper; Musical Word Wall • Ululation: a sound made by vocal trilling, CD 2, Track 65. STANDARDS: US 1, 4, 5, 6; NYC 1, 2, 3 • Whistle: a sound made to gather animals, such as cattle and dogs, CD 2, Track 66. SUMMARY: In this lesson, students will explore traditional South African vocal Note: If needed, explain to students what “trilling” means as they do these exercises. sound, use these sounds to create musical layers, and hear these sounds used in a song by Tshidi’s friend, Bongi. Listen for a call and response version of some these various sounds, CD 2, Track 67. VOCABULARY: ululation, trilling, tongue clicks, layers Write down some symbols on chart paper to represent these sounds. Students can copy the symbols into their books on SG77. Review the word rhythms for two of the vegetables that your students created in SG66 Warm-up and Activities for SG77 (Unit 5, Lesson 3). Turn each rhythm into an ostinato by repeating it over and over. Warm up students’ voices by singing the “Musical Explorers Song” as a class, Select one of the ululations or tongue clicks from the list above. Repeat this sound in CD 1, Track 1. rhythm to create a steady beat. Practice singing “Birthdays Come Only Once a Year,” CD 2, Track 25 or Divide students into two groups. Assign the word rhythm ostinato to one group and “Les Berceaux,” CD 2, Track 53. the steady beat sound to the other group. Layer the sounds as you did in Unit 5, Lesson 3. Ask students to listen for how the Exploring Vocal Sounds (SG77) sounds and words blend together. Tell students that they are are working together as a musical team, just like Tshidi and Bongi do. LISTENING TO “INqOLA” Listen to “Inqola” by Tshidi’s friend Bongi, CD 2, Track 61. Ask students: MUSIC TEACHER EXTENSION • “Do you hear any repeating patterns?” Create a rhythmic ostinato using the ululations or sounds students have learned by • “Can you identify repeating sounds that the voices make?” repeating them over and over. Have another group of students sing “Thula Mama” on top of this ostinato. Create several different versions of the song, combining different • “Which instruments do you hear in the music?” sounds and the melody. Perform or record these original versions of “Thula Mama” for • “How is this song different from ‘Thula Mama’?” another class. Listen again and have students create their own movements to go along with the music. Ask students: ADDITIONAL LISTENING • “How are our movements for ‘Inqola’ different from the ones we made for You can also listen to additional South African songs from these albums: ‘Thula Mama’?” • South African Legends (Putumayo World Music, 2000; B00004SBZ4) Play “Thula Mama” again if you need to remind students of their movements, CD 2, Track 60. • Rough Guide to the Music of South Africa (World Music Network, 2006; B000IJ7GNC)

46 47 unit 8 Preparation SG77

Exploring Vocal Sounds Getting Ready for Our Second LOOKiNG and CREATiNG Musical Explorers Concert Draw symbols for South African sounds here! How Can We Prepare for Our Second Musical Explorers Concert? Warm-up and Activities for SG78–81 Getting Ready for Our Second Musical Explorers Concert (SG78) Songs We Know (SG79) Where Are All the Countries We Learned About? (SG80) Let’s Go to Carnegie Hall! (SG81)

Students should be ready to sing the following songs or parts of songs at the concert:

• “Musical Explorers Song,” CD 1, Track 1. • “Birthdays Come Only Once a Year,” CD 2, Track 2. • “Les Berceaux,” CD 2, Track 32. • “Thula Mama,” CD 2, Track 60.

Students should also be familiar with the following songs: • “Dilmano,” CD 2, Track 26. • “O Mio Babbino Caro,” CD 2, Track 54. • “Inqola,” CD 2, Track 61.

Remember to do the warm-up exercises with your students regularly to encourage good vocal tone and to improve their technique.

48 49 unit 8 Lesson 1 SG78

REVIEwING wHAT wE HAVE LEARNED THIS SEMESTER Review and facilitate a conversation about some of the concepts that your students Getting Ready for Our Second have explored this semester. Ideas include: Musical Explorers Concert • Exploring how music can help us celebrate and communicate • Exploring how people can make music with one another We have learned so much on our trips to Brighton Beach, St. George, • Singing songs in foreign languages and Morningside Heights! • Creating and notating musical shapes LiSTENiNG • Exploring various moods in music We learned that there are lots of different ways music can help us • Creating original rhythmic patterns to celebrate and communicate. We also learned about making music • Creating musical layers with others and how fun it is to add sound effects to music. • Exploring new vocal sounds Ask students: LOOKiNG We learned about a new five-note scale with a different mood and • “What was your favorite part about being a Musical Explorer in the second part of the year?” learned fivehow note to minorwrite scalesit down. on SG 64... • “What is your favorite song from the second part of this year? Why?”

Document students’ responses on chart paper. Then, review what you have learned this semester on SG78 and 79. Before the concert, brainstorm a list of questions about the music, the artists, or Carnegie Hall with your students. Choose your class’s top three questions and C d Eb F G forward them to Carnegie Hall staff one week before the concert. If there is time, do Re Me Fa Sol the artists can answer your questions during the concert! Tell students that the Conductor will now take us on a trip from Morningside Heights to Carnegie Hall, where we will soon meet and hear our singers, Vlada, Lynne, and Tshidi. Have students turn to SG81 and help them:

• Find Tshidi’s neighborhood, Morningside Heights, on the map. • Find Carnegie Hall in midtown Manhattan on the map. • Complete the maze from Morningside Heights to Carnegie Hall.

In addition to reviewing the curriculum concepts, make sure to practice singing the songs with your students! Revisit your class’s questions after the concert and facilitate a reflection. Were students’ questions answered, directly or indirectly? You can also send Celebrating Soothing someone Working together the class’s thoughts and memories to Carnegie Hall staff following the concert.

50 51 SG79 SG80

Songs We Know Where Are All the Countries We Learned About? CREATiNG We created new rhythms and patterns. We created layers of sounds. My favorite part about being a Musical Explorer in the second part of the year is:

Russia

Ukraine France United States Italy Bulgaria

During this second part of our journey, we’ve learned these songs: South Africa • “Birthdays Come Only Once a Year” • “Dilmano” • “Les Berceaux” • “O Mio Babbino Caro” • “Thula Mama” • “Inqola”

We are going to sing and hear these songs at Carnegie Hall with Vlada, Lynne, and Tshidi!

52 53 unit 8 Lesson 2 SG81

Let’s Go to Carnegie Hall! What Can We Bring Back with us

Help Tshidi get from Morningside Heights to Carnegie Hall for our from the Concert? concert! Find Tshidi on the map and complete the maze so she can AIM: To reflect with students on the second Musical Explorers performance join her friends Vlada and Lynne at Carnegie Hall! at Carnegie Hall. MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 7; NYC 1, 2, 3 SUMMARY: Students will reflect in the classroom about their concert experience. VOCABULARY: concert, reflect, memory Warm-up and Activities for SG82 Warm up students’ singing voices with the Yawning Kittens, Bouncy Ball, or Sirens exercises, CD 1, Tracks 2–5. Sing all of the songs students learned to sing this semester.

Tshidi • “Birthdays Come Only Once a Year,” CD 2, Track 2. • “Les Berceaux,” CD 2, Track 32. Morningside • “Thula Mama,” CD 2, Track 60. Start Heights Listen to the other songs students have heard this semester. • “Dilmano,” CD 2, Track 26. • “O Mio Babbino Caro,” CD 2, Track 54. • “Inqola,” CD 2, Track 61.

Reflecting on the Concert (SG82) CENTRAL PARK Return to the list of questions your students created prior to the concert. Finish As a class, answer as many questions as possible. Collect the students’ responses to the concert. Ask students: • “What were your favorite parts of the concert?” Carnegie Hall • “Were there any surprises?” • “Do you have any new questions after experiencing the concert?” • “Which song was your favorite to sing? Why?” Invite students to write or draw a picture capturing their memories of the concert on SG82. Lynne Vlada Encourage students to include themselves and their friends in their writing or drawing, and to use colors that remind them of their experiences.

54 55 SG82

National Standards for Music Education Found in unit(s):

Reflecting on the Concert Standard 1 Singing, alone and with others, a varied repertoire of music. 5, 6, 7, 8

Standard 2 Performing a varied repertoire of music, alone and with others. 5, 6, 7, 8 Great job, Musical Explorers! Standard 3 Improvising melodies, variations, and accompaniments. 5, 6, 7 We’re finished with our musical trip and you sang so well! Standard 4 Composing and arranging music within specified guidelines. 5, 6, 7

Standard 5 Reading and notating music. 5, 7 CREATiNG Standard 6 Listening to, analyzing, and describing music. 5, 6, 7

What are your memories of the concert at Carnegie Hall? Standard 7 Evaluating music and music performances. 8

Write or draw these memories below. Standard 8 Understanding relationships between music, the other arts, 5, 6, 7 and disciplines outside the arts.

Standard 9 Understanding music in relation to history and culture. 5

New York City Department of Education Blueprint for Teaching and Learning in the Arts: Music Found in unit(s):

Strand 1 Music Making: By exploring, creating, replicating, and observing 5, 6, 7, 8 music, students build their technical and expressive skills, develop their artistry and a unique personal voice in music, and experience the power of music to communicate. They understand music as a universal language and a legacy of expression in every culture.

Strand 2 Developing Music Literacy: Students develop a working knowledge 5, 6, 7, 8 of music language and aesthetics, and apply it to analyzing, evaluating, documenting, creating, and performing music. They recognize their roles as articulate, literate musicians when communicating with their families, schools, and communities through music.

Strand 3 Making Connections: By investigating historical, social, and cultural 5, 6, 7, 8 contexts, and by exploring common themes and principles connecting music with other disciplines, students enrich their creative work and understand the significance of music in the evolution of human thought and expression.

Strand 4 Working with Community and Cultural Resources: Students 5, 6, 7, 8 broaden their perspective by working with professional artists and arts organizations that represent diverse cultural and personal approaches to music, and by seeing performances of widely varied music styles and genres. Active partnerships that combine school and local community resources with the full range of New York City’s music and cultural institutions create a fertile ground for students’ music learning and creativity.

Strand 5 Exploring Careers and Lifelong Learning: Students consider 5, 6, 7 the range of music and music-related professions as they think about their goals and aspirations, and understand how the various professions support and connect with each other. They carry physical, social, and cognitive skills learned in music, and an ability to appreciate and enjoy participating in music throughout their lives.

56 57 ACKNOwLEDGMENTS

Recordings “Happy Birthday” written by Mildred J. Hill and Patty S. Hill. “Cheburashka i Gena” by Vladimir Yakovlevich Shainsky. Performed by Vlada Tomova and Uri Sharlin. Courtesy of Vlada Tomova. “Dilmano,” traditional Bulgarian tune. Performed by Vlada Tomova, Uri Sharlin, and Kyle Sanna. Courtesy of Vlada Tomova. “Les Berceaux,” by Gabriel Fauré. Performed by Lynne Abeles. Courtesy of Lynne Abeles. “O Mio Babbino Caro,” from Gianni Schicchi by Giacomo Puccini. Performed by Lynne Abeles. Courtesy of Lynne Abeles. “Thula Mama,” traditional. Performed by Tshidi Manye, Sbongiseni Duma, and Junior Wedderburn. Courtesy of Tshidi Manye. “Inqola” by Sbongiseni Duma. Performed by Tshidi Manye, Sbongiseni Duma, and Junior Wedderburn. Courtesy of Sbongiseni Duma.

Print “Cheburashka i Gena,” by Vladimir Yakovlevich Shainsky. Lyrics by Timofeevsky. “Les Berceaux,” by Gabriel Fauré. Lyrics by René-François Sully-Prudhomme. “O Mio Babbino Caro,” from Gianni Schicchi by Giacomo Puccini. Lyrics by Giovacchino Forzano. “Thula Mama,” traditional South African tune. Lyrics and tune provided by Tshidi Manye.

Photos (SG 62) Brighton Beach photos by Stefan Cohen, vegetables by Min Woo Lee, vegetable garden detail by Amy C. Evans for the Southern Foodways Alliance; (SG 68) “Verrazano Overhead, Staten Island NY” by Grufnik; (SG 69) “Windup Clock ... ¡¡¡ RIIIIIIIIIIIIIIIIIIIIIIING !!!” by Lady Pain for ladypain.is.dreaming.org; bedtime photos by Evelyn Ochoa; (SG 70) “Guarani Baby, Jatucá Reté Woty” by CARF; sleeping baby by Nishikawa Yoshiyasu; “Nap Please” by Andrew Bardwell; baby by E. Christopher Clark; (SG 74) Morningside Heights photo by Stefan Cohen; (SG 75) “Painting a Mural” by Michael Feagans, Watoto Children’s Choir by Colin Adland, soccer players by Binary Bliss, football team by Gil Searcy; (SG 78) birthday party by Sara J. Martinez; sleeping baby by mitikusa; soccer players by Binary Bliss.

58 59 Cd 2 TRACK LiSTiNG 1. “Happy Birthday,” p.12 2. “Birthdays Come Only Once a Year,” p. 12, 49, 55 3. Five-note minor scale, ascending, p. 14 4. Five-note minor scale, ascending and descending, p. 14 5. “Birthdays Come Only Once a Year” Chorus: Phrase 1 (call and response) on “La,” p. 16 6. “Birthdays Come Only Once a Year” Chorus: Phrase 1 on “La,” p. 16 7. “Birthdays Come Only Once a Year” Chorus: Phrase 2 (call and response) on “La,” p. 16 8. “Birthdays Come Only Once a Year” Chorus: Phrase 2 on “La,” p. 16 9. “Birthdays Come Only Once a Year” Chorus: Phrase 3 on “La,” p. 16 10. “Birthdays Come Only Once a Year” Chorus: Phrase 3 (call and response) on “La,” p. 16 11. “Birthdays Come Only Once a Year” Chorus: Complete on “La,” p. 20 12. “Birthdays Come Only Once a Year” Chorus: Phrase 1 (spoken), p. 17 13. “Birthdays Come Only Once a Year” Chorus: Phrase 1 (spoken) (call and response), p. 17 14. “Birthdays Come Only Once a Year” Chorus: Phrase 2 (spoken), p. 17 15. “Birthdays Come Only Once a Year” Chorus: Phrase 2 (spoken) (call and response), p. 17 16. “Birthdays Come Only Once a Year” Chorus: Phrase 3 (spoken), p. 18 17. “Birthdays Come Only Once a Year” Chorus: Phrase 3 (spoken) (call and response), p. 18 18. “Birthdays Come Only Once a Year” Chorus: Phrases 1–3 (spoken), p. 18 19. “Birthdays Come Only Once a Year” Chorus: Phrase 1 (sung) (call and response), p. 18 20. “Birthdays Come Only Once a Year” Chorus: Phrase 1 (sung), p. 18 21. “Birthdays Come Only Once a Year” Chorus: Phrase 2 (sung) (call and response), p. 18 22. “Birthdays Come Only Once a Year” Chorus: Phrase 2 (sung), p. 18 23. “Birthdays Come Only Once a Year” Chorus: Phrase 3 (sung) (call and response), p. 18 24. “Birthdays Come Only Once a Year” Chorus: Phrase 3 (sung), p. 18 25. “Birthdays Come Only Once a Year” Chorus: Phrases 1-3 (sung), p. 18, 20, 28, 35, 46 26. “Dilmano,” p. 20, 49, 55 27. “Rhythm Salad” Example 1, p. 22 28. “Rhythm Salad” Example 2, p. 22 29. Lullaby Example 1: “Rock-a-bye Baby,” p. 28, 42 30. Lullaby Example 2: Brahms’s Lullaby, p. 28, 42 31. Lullaby Example 3: “Hush Little Baby,” p. 28, 42 32. “Les Berceaux,” p. 29, 42, 49, 55 33. “Les Berceaux”: Phrase 1, Part A (call and response) on “La,” p. 30 34. “Les Berceaux”: Phrase 1, Part B (call and response) on “La,” p. 30 35. “Les Berceaux”: Phrase 1, Parts A and B (call and response) on “La,” p. 30 36. “Les Berceaux”: Phrase 2, Part A (call and response) on “La,” p. 30 37. “Les Berceaux”: Phrase 2, Part B (call and response) on “La,” p. 30 38. “Les Berceaux”: Phrase 2, Parts A and B (call and response) on “La,” p. 30 Musical Explorers CD 2 39. “Les Berceaux”: Phrases 1 and 2 on “La,” p. 30 40. “Les Berceaux”: Phrase 1, Part A (call and response) (spoken), p. 30 41. “Les Berceaux”: Phrase 1, Part B (call and response) (spoken), p. 30 42. “Les Berceaux”: Phrase 1, Parts A and B (call and response) (spoken), p. 30 43. “Les Berceaux”: Phrase 2, Part A (call and response) (spoken), p. 30 44. “Les Berceaux”: Phrase 2, Part B (call and response) (spoken), p. 30 45. “Les Berceaux”: Phrase 2, Parts A and B (call and response) (spoken), p. 31 46. “Les Berceaux”: Phrases 1 and 2 (spoken), p. 31 47. “Les Berceaux”: Phrase 1, Part A (call and response) (sung), p. 31 48. “Les Berceaux”: Phrase 1, Part B (call and response) (sung), p. 31 49. “Les Berceaux”: Phrase 1, Parts A and B (call and response) (sung), p. 31 50. “Les Berceaux”: Phrase 2, Part A (call and response) (sung), p. 31 51. “Les Berceaux”: Phrase 2, Part B (call and response) (sung), p. 31 52. “Les Berceaux”: Phrase 2, Part A and B (call and response) (sung), p. 31 53. “Les Berceaux”: Phrases 1 and 2 (sung), p. 31, 42, 46 54. “O Mio Babbino Caro,” p. 36, 37, 49, 55 55. “Thula Mama”: Solo, p. 43 56. “Thula Mama”: Phrase 1 (call and response), p. 43 57. “Thula Mama”: Phrase 2 (call and response), p. 43 58. “Thula Mama”: Phrase 3 (call and response), p. 43 59. “Thula Mama: Phrases 1–3, p. 43 60. “Thula Mama,” p. 42, 43, 46, 49, 55 61. “Inqola,” p. 46, 49, 55 62. South African Vocal Sound Q, p. 47 63. South African Vocal Sound C, p. 47 64. South African Vocal Sound X, p. 47 65. South African Vocal Sound, Uluation, p. 47 66. South African Vocal Sound, Whistle, p. 47 67. South African Vocal Sounds (call and response), p. 47 The Weill Music Institute at Carnegie Hall

The Weill Music Institute at Carnegie Hall